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ELEMENTARY 
INDUSTRIAL  WORK 


GEORGE  H.  JENSEN.  B.  S. 


I 


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ELEMENTARY 
INDUSTRIAL  WORK 


.  .  .  BY  .  .  . 

GEORGE  H.  JENSEN,  B.  S. 

Director  of  Manual  Arts,  Louisiana  State  Normal  School 

NATCHITOCHES,  LA. 


Illustrated  and  Published  by  the  Author 
NATCHITOCHES,  LA. 


Copyright  1910 

BY 

GEORGE  H.  JENSEN 


.***. 


284437 


PREFACE. 

We  are  no  longer  required  to  prove  to  the  public  that 
training  in  the  Manual  Arts  is  an  essential  factor  in  any  educa- 
tional curriculum.  We  are  frank  to  admit,  however,  that  we 
are  not  conceited  enough  to  say  that  we  have  learned  the  best 
methods  of  giving  training  along  this  line.  The  contents  of  this 
book  are  what  seem  to  the  author  the  best  that  has  been  found 
up  to  the  present  time  for  the  particular  phase  of  the  work  for 
which  it  is  intended.  Each  problem  has  been  selected  only  after 
careful  testing  in  the  classroom.  All  of  them  have  demon- 
strated their  practicability.  In  a  general  way,  nearly  every- 
one knows  about  the  crafts  problems  and  projects  suitable  for 
classwork.  But  when  it  comes  to  using  them  as  such,  trifling 
details,  simple  in  themselves,  come  up  and  cause  the  proposed 
handwork  to  be  omitted.  The  wise  teacher  who  has  not 
thoroly  learned  how  to  do  the  work  readily,  substitutes. 
Often  a  few  simple  suggestions  would  have  cleared  up  all 
vagueness. 

The  material  in  this  book  is  of  such  a  nature  that  any 
"wideawake"  teacher  may  with  a  little  patience  and  applica- 
tion use  it  without  an  instructor. 

The  teaching  of  this  subject  has  always  been  somewhat 
handicapped  by  the  scarcity  of  text-books  that  are  suitable. 
Most  of  them  treat  only  some  of  the  materials  that  may  be 
used — it  is  the  purpose  of  this  book  to  treat  all  that  are 
advisable. 

Students  in  my  classes  have  often  asked  that  we  have  a 
text-book  treating  the  subject-matter  that  we  cover.  In 
answer  to  this  and  the  other  demand  referred  to,  this  little 
volume  has  been  prepared. 


INTRODUCTION. 

The  title  of  this  book  does  not  mean  to.  imply  that  we  are 
to  train  for  any  trade,  but  it  is  evident  that  industrial  training 
necessarily  must  be  included  in  our  curriculum  when  thirty  of 
our  thirty-two  millions  of  workers  must  earn  their  living  by 
the  use  of  their  hands.  A  mere  "busy-work"  period  coming 
for  its  share  of  time  is  not  sufficient.  The  work  must  stand  for 
something  definite,  and  tangible  results  must  be  in  evidence. 
The  standard  of  skilled  labor  demanded  by  the  industries  is 
already  being  raised.  This  elementary  work  paves  the  way  for 
the  shopwork  which  will  come  later. 

Handwork  is  often  an  incentive  to  more  concentrated 
application  at  other  subjects.  Pupils  will  work  harder  if  they 
are  looking  forward  to  a  period  when  they  can  lay  aside  their 
books  and  work  with  their  hands. 

'  While  working,  keep  in  mind  design  and  proportion.  It  is 
just  as  easy  to  teach  good  proportion  as  it  is  to  permit  the 
development  of  a  disregard  for  proportion,  if  the  child  is  only 
guided  in  his  efforts. 

Never  strive  for  quantity  at  the  expense  of  quality.  Honest 
constructions  should  always  be  adhered  to,  even  tho  imita- 
tions may  shorten  the  work  and  be  "just  as  good."  Have 
your  problems  so  graded  that  the  children  for  whom  they  are 
planned  can  execute  them  in  a  creditable  way.  There  are 
teachers  who  are  wont  to  say  that  a  certain  execution  is  very  good 
considering  the  age  of  the  child — that  is  a  poor  standard 
Plan  the  problems  so  that  good  results  can  be  demanded. 

Exhibits  are  a  necessary  evil.  A  great  deal  of  time  and 
effort  are  expended  for  same,  which  reduces  the  time  for  actual 
classwork,  which  is  too  short  as  it  is.  It  is  fortunate,  of  course, 
that  parents  and  friends  are  interested  in  the  results  achieved 
by  the  children,  but  it  is  such  a  temptation  to  help  the  child  in 
preparing  his  piece  for  the  exhibit  by  executing  parts  of  it 
that  he  cannot  execute  himself.  The  product  then  ceases  to 
belong  to  the  pupil  and  becomes  the  work  of  the  teacher. 


Vll 


There  are  two  general  suggestions  for  methods  of  pro- 
cedure that  are  worth  while.  In  the  lower  grades,  use  the  work 
in  teaching  history,  industries,  occupations,  etc.;  in  the  higher 
grades,  constructions  and  technique  should  be  mastered  and 
emphasized.  All  of  the  time,  however,  initiative  should  be 
considered  and  developed. 

The  different  phases  of  the  work  need  not  be  taken  up  in 
the  order  of  the  chapters  that  follow.  Each  chapter  begins 
with  the  simplest  manipulation  of  the  subject-matter  of  which 
it  is  treating,  and  leads  up  to  the  more  difficult. 

This  book  does  not  attempt  to  carry  any  of  the  crafts  into 
the  realm  of  professionalism.  But  since  most  schools,  both 
rural  and  city,  are  doing  work  of  this  kind  in  the  lower  grades, 
this  book  hopes  to  accomplish  its  mission  by  helping  those 
who  study  it  to  develop  better  and  more  sincere  methods  of 
instruction. 


Vlll 


CONTENTS. 

Page. 
CHAPTER  1.  Mechanical  Drawing    .       .       .       .         1 

A  Simple  Working  Drawing    ...     2 

Lettering 5 

Designs 9 

Geometric  Problems     .       .       .       .        10 

Community  Work    .       .       .       .       .    14 
A  Barnyard  Scene        .       .       .       .       16 

A  Street  Scene 18 

Doll-House  Construction     ...       23 
The  Building  of  Houses  .       .       .       .31 

Special-Day  Exercises  ....  36 

Holiday  Season .       .       .       .       .  .37 

Envelopes 40 

Boxes 42 

St.  Valentine 43 

Washington's  Birthday    .       .       .  .46 

Easter  Season        .       .       ...       .  49 

Hanging,  Gift  and  May  Baskets    .  .51 

Miscellaneous  Paper  Sloyd.        .       .       56 

Cord  and  String  Work     .       .       .       .66 

Watchchains 67 

Guard  for  Scissors     .       .       .       .       .    69 

Square  Knot 70 

A  Portiere 70 

A  Small  Bag  . 71 

The  Double  Sailor's  Knot       .       .       .72 

Whips .      72 

A  Hammock 74 

CHAPTERJVI-         Burlap  Work.        .....       76 

A  Mat 76 

A  Napkin  Ring 77 

A  Shaving-Pad 78 

A  Holder 79 

ANeedlebook 80 


CHAPTER  IV. 
CHAPTER  V. 


CONTENTS— Continued. 


6.  A  Cardcase  . 

7.  A  Bag  for  Books 

8.  A  Pincushion 

9.  Sofa  Pillows 


IX 


Page. 


CHAPTER  VII. 
I. 

2. 
3. 

4. 

CHAPTER  VIII. 
1. 
2. 
3. 

4. 


CHAPTER  IX. 


CHAPTER  X. 


Weaving 

Single-Mat   Weaving 

A  Woven  Box 

Right  and  Left  Weaving 

Hand-Loom  Weaving  . 


.       .       .   82 

.       .       82 

.       .       .   83 

.  .       85 

.  .       .   87 

.  .        91 

.  .       .  93 

.  .       95 

Raffia  Work       . 109 

Wrapped  Work 110 

Braided  Work 115 

Knotted  Work 117 

Porch  Pillows 120 

Simple  Bookbinding     .        .        .       .123 

Desk-Pads 124 

Portfolios 127 

A  Simple  Booklet 129 

Another  Book        .        .        .       .       .130 

Loose-Leaf  Books 131 

Art  Books 133 

Basketry 135 

Reed  Mats 136 

How  to  Utilize  Mats        .       .       .       .142 

Reed  Baskets 145 

Willow  Baskets 151 

Coiled  Baskets      .       .       .       .       .151 
Hard-Coiled  Baskets        .       .       .       .153 
Baskets  of  Natural  Material       .       .159. 
Flat  Reed  Baskets 160 


CHAPTER  XI.       Design 163 

1.  Block-Printing 171 

2.  Stenciling      .       .       .      .       .       .      .172 

CHAPTER  XII.      Bird-Houses 176 

1.  A  Wren-House 176 

2.  A  Larger  Bird-House       .       .       .       .179 

3.  Other  Bird-Houses       .       .  .181 


I. 


WORKING  DRAWINGS. 


An  understanding  of  simple  working  drawings  is 
necessary  for  hand  work  of  any  form. 

Mechanical  drawing  differs  from  free-hand  work. 
In  free-hand  drawing  things  are  represented  as  they 
are  seen,  or  as  they  impress  one.  In  mechanical 
drawing  things  are  drawn  as  they  exist,  or  really  are. 

In  drawing  any  view  of  an  object,  either  top, 
end  or  side,  only  two  dimensions  are  used.  Those 
are  length  and  breadth.  The  point  of  view  is  assumed 
to  be  at  an  infinite  distance  from  the  object;  there- 
fore, no  thickness  or  third  dimension  is  considered. 

Instruments  shown  in  Figure  1  are  essential, 
being  a  drawing-board,  T-square,  30x60  and  45x45 
degree  triangles,  and  thumb-tacks.  A  compass  will 
also  be  needed. 

In  using  the  T-square,  the  beam  (part  to  which 
the  blade  is  nailed)  should  be  firmly  held  against  the 
end  of  the  board  in  order  that  all  of  the  lines  drawn  will 
be  parallel.    The  triangles  are  used  to  draw  lines  per- 


2  ELEMENTARY  INDUSTRIAL  WORK. 

pendicular  to  those  drawn  with  the  T-square  and  for 
drawing  lines  to  make  the  various  angles  mentioned 
under  Figure  1 .  The  T-square  may  also  be  used  from 
the  top  of  the  board  if  the  upper  left-hand  corner  is 
square  so  that  the  angle  it  makes  with  the  line  already 
drawn  will  be  a  right  angle. 

In  addition  to  what  has  already  been  mentioned, 
Figure  1  also  shows  a  sheet  of  drawing  paper  9"xl2" 
in  place.  The  edge  of  the  paper  must  be  parallel 
with  the  blade  of  the  T-square.  This  is  easily  done 
by  fastening  only  one  of  the  lower  corners  and  then 
moving  the  paper  until  the  upper  edge  is  just  in  line 
with  the  T-square,  when  the  other  tacks  may  be 
inserted. 

The  character  "  to  the  right  and  above  the  Figures 
9  and  1 2  in  the  preceding  paragraph  designates  inches. 
If  there  is  but  one  of  these  characters  ('),  that  designates 
feet.    These  characters  will  be  used  thruout  this  book. 


1.    A  SIMPLE  WORKING  DRAWING. 

A  simple  working  drawing  is  shown  in  Figure  2 
with  all  construction  lines  and  method  of  projection. 
Figure  3  shows  the  drawing  complete,  after  inking 
in  all  necessary  lines  and  erasing  the  construction 
lines. 

The  conventions  in  the  lower  right-hand  corner 
of  Figure  2  are  not  a  part  of  that  plate,  but  are  for 
the  purpose  of  learning  their  names.  No.  1  is  a  line 
used  to  represent  visible  edges;  No.  2,  invisible 
edges;  No.  3,  dimension  lines;  No.  4,  working  or 
projection  lines;  and  No.  5,  center  lines. 


WORKING  DRAWINGS. 


5&)x 


Top 


Front" 


End 


/ 

z 

4- 


a    j-- 


F.g2 


The  first  step  in  the  making  of  a  working  drawing 
is  the  drawing  of  lines  parallel  with  the  four  edges 
of  the  sheet,  leaving  a  margin  of  in  in  case  the  sheet  is 
9"x12",  the  size  of  the  sheet,  of  course,  governing 
this   width.     This   done,   proceed   to   measure   your 


4  ELEMENTARY  INDUSTRIAL  WORK. 

object,  and,  comparing  it  with  the  length  and  width 
of  the  area  on  which  it  is  to  be  drawn,  determine 
the  scale.  By  scale  is  meant  whether  it  is  to  be  drawn 
full  size,  one-half  size,  one-quarter  size,  etc.  The 
spaces  to  the  right  and  left  of  the  views  drawn  should 
be  equal,  but  those  above  and  below  so  arranged 
as  to  get  a  spacing  that  looks  well. 

Drawing  to  scale  is  sometimes  confusing  to  be- 
ginners. The  parts  are  drawn  to  scale,  which  makes 
the  whole  drawing  proportionate,  gaining  a  definite 
idea  of  the  full-sized  article;  but,  in  putting  in  the 
dimensions,  use  those  of  the  article  itself,  otherwise 
we  would  not  be  representing  what  we  started  out 
to  draw. 

In  drawing  the  pencil  lines,  make  them  slightly 
longer  than  necessary,  in  order  that  they  may  cross 
at  the  corners,  which  will  avoid  errors  in  inking, 
since  a  part  of  the  drawing  is  covered  with  the  T-square 
or  triangles. 

The  views  are  placed,  as  a  rule,  just  as  they  are 
labeled  in  Figure  2 — the  top  view  with  the  end  view 
to  the  right  of  it,  and  the  side,  or  front,  view  directly 
below  the  top  view.  The  top  view  is  always  drawn 
first,  and  most  of  the  parts  on  the  side  and  end  view 
can  be  projected  from  this.  By  projection  is  meant 
the  continuation  of  a  certain  line  or  lines  in  order 
to  get  a  point  or  a  part  of  the  other  view  without 
measuring.  The  different  views  are  never  labeled 
in  the  real  drawing,  since  the  position  for  each  view 
is  fixed. 

Begin,  having  the  margin  lines  drawn,  by  drawing 
the  long  horizontal  lines.  Next  space  off  on  these  by 
means  of  dots  where  the  vertical  lines  will  cross.     Fol- 


WORKING  DRAWINGS.  5 

lowing  this  the  shafts  of  the  dimension  lines  are  drawn. 

The  drawing  is  now  ready  for  the  insertion  of 
dimensions,  but  first,  draw  lines  to  aid  in  the  lettering 
and  numbering.  After  drawing  said  lines  as  shown 
in  Figure  2,  do  the  lettering;  but  the  barbs  on  the 
dimension  lines  are  not  drawn  in  pencil,  since  they 
are  directly  done  free-hand  and  in  ink. 

The  inking  comes  next.  Ink  the  heavy  lines 
first  (visible  and  invisible),  and  then  the  lighter 
lines.  Lastly,  using  a  fine  pen,  ink  in  the  letters, 
figures  and  barbs.  Erase  all  pencil  and  finger  marks, 
and  the  drawing  is  complete. 

If  Figures  2  and  3  are  not  understood  after  the 
foregoing  explanation,  examine  a  box  and  try  to  see 
the  different  views.  The  sides  of  the  box  are  nailed 
to  the  ends,  and  the  bottom  is  nailed  on  the  lower 
edges  of  both  sides  and  ends. 

Get  a  better  insight  by  making  a  few  drawings 
similar  to  Figure  3  from  models  that  may  be  had. 


2.    LETTERING. 

Working  drawings  should  never  be  labeled  or 
marked  in  script.  Script  is  not  in  keeping  with  the 
work,  so  the  practice  of  the  practical  draftsman  is 
followed. 

The  lettering  may  "make  or  break"  a  drawing. 
In  other  words,  a  drawing,  tho  perfectly  drawn, 
presents  a  disagreeable  appearance  if  poorly  lettered. 
It  does  for  the  drawing  what  paint  and  decoration 
do  for  the  house.  ; 

In  our  work  in  the  grades  we  shall  not  aspire  to 


6  ELEMENTARY  INDUSTRIAL  WORK. 

the  skill  acquired  by  a  professional  draftsman,  but 
work  away  from  top-heavy  and  poorly-proportioned 
letters. 

Lettering  immediately  resolves  itself  into  drawing 
and  design.  It  is  design  until  a  properly  sized, 
shaped  and  proportioned  letter  has  been  decided 
upon.    The  execution  then  is  simply  drawing. 

The  style  commonly  accepted  is  the  plain 
"Gothic."  It  meets  the  requirements  as  to  simplicity 
and  ease  of  execution,  making  possible  speed  with 
practice.  For  work  in  the  grades  these  should  always 
be  used  except  in  designs  where  only  a  few  letters 
are  necessary. 

In  teaching  the  alphabet,  first  draw  the  letters 
free-hand  on  the  blackboard,  using  four  guide  lines 
in  the  beginning.  This  is  shown  in  the  lettering  on 
the  plate  in  Figure  2. 

The  capitals,  or  upper  case,  Figure  4,  should 
be  taken  up  first.  Have  the  pupils  rule  horizontal 
lines  similar  to  those  drawn  on  the  board  by  the  teacher. 
Discouragement  can  often  be  avoided  in  the  beginning 
if  the  letters  are  not  made  too  tall.  It  will  be  found 
that  I"  is  a  good  height.  When  the  guide  lines  have 
been  drawn,  lettering  may  be  started.  It  is  not 
well  to  begin  and  letter  from  A  to  Z.  H  being  the 
most  fundamental  letter,  it  may  be  taken  first.  The 
vertical  parts  must  be  made  at  a  single  stroke  of 
the  pencil  and  as  nearly  vertical  as  possible.  The 
horizontal  is  then  drawn  in  the  center  or  slightly 
above  the  center.  There  is  only  one  letter  that  has 
the  cross  or  horizontal  line  below  the  center,  which 
is  A,  altho  the  horizontal  line  in  G  is  sometimes 
drawn  below  the  center,  which  is  permissible. 


WORKING  DRAWINGS. 


ABCDEFGHIJKLMNOPQRSTUVWXYZ 

Fig  4 

abcdefghijklmnopqrsfuvwxYZ 

1 2  34567  8*9*0 

ABCDEFGHIJKLMNOPQRSTUVWXY 

BDEHN    ABHlTV 

F/g  S  r~.g  9 

BLOCK     FULL  BLOCK      Umm  EXTENDED 


The  width  of  the  letters  varies  from  I  to  W,  but 
the  majority  of  them  are  of  the  same  width  as  that 
of  the  letter  H. 

After  a  line  of  H's  has  been  drawn,  the  other 
letters  in  this  group  may  be  practiced — I,  L,  T,  F, 
E  and  N — drawing  the  vertical  lines  first  in  each 
case. 

The  next  letters  to  be  studied  are  A,  M,  K,  W, 
X,  Y,  Z.  No  new  difficulties  are  presented.  It  should 
be  noticed,  tho,  that  the  M  and  W  differ  in  that  the 
sides  of  the  M  are  straight,  while  those  of  the  W 
are  drawn  at  an  angle.  This  angle  should  not  be 
very  large,  or  the  letter  will  look  weak.  The  Y  should 
not  be  made  too  wide,  or  it  will  look  top-heavy. 

The  letters  involving  curved  lines  are  taken 
up  next— U,  J,  0,  Q,  C,  D,  G,  P,  R,  B,  S.  U  and 
J  are  made  by  adding  curves  to  the  horizontal  lines. 
The  letter  0  is  made  by  drawing  a  left-hand  curve 


8  ELEMENTARY  INDUSTRIAL  WORK. 

from  top  to  bottom,  and  then  a  right-hand  curve, 
joining  at  the  top  and  bottom.  What  has  been  said 
about  the  U,  J  and  0  will  make  the  others  possible. 
In  S  care  should  be  taken  to  avoid  making  the  lower 
half  smaller  than  the  upper  half. 

The  numerals  in  Figure  6  are  studied  next.  Only 
the  6,  8  and  9  need  analysis.  The  6  and  9  are  drawn 
as  indicated  by  the  numbers  on  the  figures  in  Figure 
6,  1  being  the  first  stroke,  and  2  the  second.  The 
number  8  is  made  up  of  two  ovals,  the  upper  one 
being  slightly  smaller  than  the  lower  one. 

The  lower-case  letters  (Figure  5)  are  practiced 
last.  No  difficulty  should  be  experienced.  Keep 
the  straight  lines  horizontal.  Only  after  considerable 
practice  is  it  wise  to  attempt  either  upper  case,  lower 
case  or  numerals  at  an  angle  as  shown  in  Figure  7. 

The  width  of  the  letters  has  been  mentioned, 
but  not  in  proportion  to  the  height.  This  varies 
considerably;  but,  if  it  is  figured  mechanically,  two- 
thirds  is  a  safe  proportion  for  average  lettering.  For 
sake  of  variety,  or  because  of  the  smallness  of  the 
space,  letters  can  be  drawn  much  narrower  in  pro- 
portion to  the  height.  These  are  called  condensed, 
and  show  in  the  plate  on  lettering.  When  they  are 
much  wider  in  proportion  to  the  height,  they  are 
called  extended. 

Spacing  is  a  very  important  consideration.  Area 
of  space  between  the  letters  should  be  equal  or  nearly 
so,  rather  than  the  actual  distance  in  a  horizontal 
line  from  one  letter  to  another.  If  the  spaces  are  equal 
in  width,  dark  spots  will  appear.  Therefore,  H  and  E 
coming  together  should  be  more  widely  separated 
than  E  and  F,  or  F  and  J.     And  even  F  and  J  can 


WORKING  DRAWINGS.  9 

be  drawn  closer  together  than  E  and  F.  The  eye 
must  learn  to  gauge  the  proper  spaces,  as  no  set  rule 
will  always  effect  good  spacing.  T  can  be  made  to 
overlap  the  letter  preceding  or  following  it,  and  Y 
and  T  coming  together  are  sometimes  narrowed. 

The  letters  should  now  be  drawn  with  the  aid  of 
only  two  guide  lines.  But  never  attempt  to  letter 
without  any  guide  lines,  altho  some  are  able  to  work 
with  but  one,  which  is  the  reward  of  persevering 
practice. 

3.    DESIGNS. 

It  is  desirable,  even  in  the  lower  grades,  to  design 
titles,  valentines,  illuminated  initials,  posters,  port- 
folios, etc.,  involving  more  elaborate  lettering  than 
has  been  studied  up  to  this  time. 

The  block  letters  just  below  Figure  8  are  the 
simplest  of  these,  since  they  can  be  drawn  without 
the  aid  of  instruments. 

By  the  addition  of  serifs  (labeled  A  in  Figure  9) 
and  spurs  (labeled  B  in  Figure  9)  we  make  of  the 
block  a  full-block  letter. 

The  "Classic  Roman"  (Figure  8)  is  an  alphabet 
drawn  in  outline.  This  affords  a  letter  that  can  be 
colored,  which  is  quite  effective. 

The  "Italian  Renaissance"  (Figure  9)  is  quite 
similar  to  the  "Classic  Roman,"  but  executed  in  solid 
and  not  in  outline. 

Those  desiring  to  elaborate  along  this  line  have 
only  to  notice  what  is  around  them.  Window  signs, 
magazine  covers,  headlines  in  magazines,  and  various 
magazine  advertisements,  provide  ample  material  for 
many  and  varied  letters  and  executions. 


10 


ELEMENTARY  INDUSTRIAL  WORK. 


A-|*- 


^S-* 


Fig  10 


4.     GEOMETRIC   PROBLEMS. 

In  executing  the  different  prob- 
lems in  hand-work  construction  and 
design  some  geometric  constructions 
are  necessary.  Only  those  most 
frequently  used  will  be  given.  The 
problems  are  to  be  worked  out 
by  means  of  the  ruler  and  compass. 
The  T-square  with  triangles  is  not 
to  be  used  here,  since  we  are  brought 
in  contact  with  these  problems 
when  drawing  board,  T-square  and 
triangles  are  not  available. 

In  the  solution  of  a  geometric 
problem  we  have  three  parts: 
First,  that  which  is  given;  second, 
the  construction;  third,  that  which 
is  required.  The  part  required  in 
the  problem  is  drawn  heavier  in 
the  figure  than  parts  1  and  2. 

I — To  draw  a  perpendicular  to 
a  given  line  at  a  given  point  in  the 
line  (Figure  10):  With  C  as  center, 
and  a  radius  less  than  CA  or  CB, 
strike  arcs  at  1  and  2.  With  1  and 
2  as  centers,  and  a  radius  greater 
than  one-half  the  distance  from  1 
to  2,  strike  arcs  intersecting  at  3. 
Draw  a  line  from  point  C  passing 
thru  3,  which  is  the  perpendicular 
required. 


F,9\b 


WORKING  DRAWINGS.  11 

II — To  draw  a  perpendicular  at  the  end  of  a 
given  line  (Figure  11):  With  A  as  center,  and  any 
radius,  draw  an  arc,  nearly  a  semicircle,  cutting  the 
line  AB  at  1 .  With  1  as  center,  and  with  the  same 
radius,  strike  an  arc  cutting  this  arc  at  2.  With  2 
as  center,  and  with  the  same  radius,  strike  the  arc 
3-4.  With  3  as  center,  and  with  the  same  radius, 
cut  the  arc  3-4  in  four.  A  line  drawn  from  point  A 
thru  the  intersection  at  4  is  the  required  perpendicu- 
lar. 

Ill — To  bisect  a  given  straight  line  or  an  arc  of 
a  circle  (Figure  12):  Take  A  and  B  as  centers,  with  a 
radius  greater  than  one-half  of  AB,  strike  arcs  inter- 
secting at  1  and  2.  Draw  line  passing  thru  1  and  2 
which  passed  thru  3  and  4,  bisecting  both  arc  and 
line.  This  line  is  also  perpendicular  to  the  straight 
line  AB. 

lV — To  draw  a  line  parallel  to  a  given  line  at  a 
given  distance  (Figure  13):  Let  CD  be  the  given  line 
and  AB  the  given  distance.  With  1  and  2  as  centers 
(any  two  points  in  the  line  CD),  and  radius  AB, 
strike  arcs  3  and  4;  then  draw  EF,  the  required  line. 

V — To  bisect  a  given  angle  (Figure  14):  With 
B,  in  the  ABC,  as  center,  strike  an  arc  intersecting 
AB  and  BC  in  1  and  2.  With  1  and  2  as  centers, 
and  any  radius  greater  than  one-half  the  distance 
from  1  to  2,  strike  arcs  intersecting  at  3.  Draw  the 
line  B3  which  bisects  the  angle  ABC. 

VI —  To  trisect  a  right  angle  (Figur  15):  Withe 
B  as  center,  and  any  radius,  strike  an  arc  intersecting 
A  and  C  in  1  and  2.  With  the  same  radius  take  1 
and  2  as  centers,  and  cut  the  arc  in  3  and  4.  Draw 
B3  and  B4,  trisecting  the  right  angle. 


12 


ELEMENTARY  INDUSTRIAL  WORK. 


VII — To  inscribe  a  regular  hexagon  within  a 
given  circle  (Figure  16):  Draw  a  diameter  cutting 
the  circle  at  A  and  B.  With  A  and  B  as  centers, 
and  the  radius  of  the  circle  as  radius,  strike  arcs 
cutting  the  circumference  at  1,  2,  3  and  4.  Draw 
1-3,  3B,  B4,  4-2,  2A,  Al,  and  the  inscribed  figure 
is  the  regular  hexagon. 

To  divide  a  circle  into  three  equal  parts  (Figure 
1 6) :  Draw  lines  from  1 ,  2  and  B  to  the  center  instead 
of  joining  the  points  in  the  circumference  to  form 
the  hexagon. 

To  divide  a  semicircle  into 
three  equal  parts  (Figure  16): 
Draw  lines  from  1  and  3  to  the 
center  of  the  line  AB.  This  applies 
to  the  upper  half  of  the  figure. 

VIII — To  inscribe  a  regular 
octagon  within  a  given  circle  (Fig- 
ure 17):  Draw  a  diameter  cutting 
the  circumference  at  1  and  2,  then 
draw  another  diameter  at  right 
angles  to  the  first  one,  cutting  the 
circumference  at  3  and  4.  Bisect 
the  right  angles  thus  formed,  cut- 
ting the  circumference  at  5,  6,  7 
and  8.  Draw  lines  connecting  the 
intersections  in  the  circumference, 
and  the  inscribed  figure  is  the 
regular  octagon. 

IX — To  construct  a  regular 
octagon  within  a  given  square 
(Figure  18):  With  ABDC  the  given  square,  draw 
diagonals   intersecting   at   the   center.      With  A,  B, 


FiqJ9 


WORKING  DBA  WINGS.  13 

C  and  D  as  centers,  and  a  radius  equal  to  one-half 
of  the  diagonal  as  radius,  strike  arcs  intersecting  the 
sides  of  the  square  in  points  1,2,3,  4,  5,  6,  7  and  8. 
Draw  5-3,  8-2,  4-6  and  1-7,  making  the  required 
octagon. 

X — To  inscribe  a  regular  pentagon  within  a 
given  circle  (Figure  19):  Draw  a  diameter  AB  and 
a  radius  EC  perpendicular  to  it.  Bisect  AE  at  1. 
With  1  as  a  center,  and  radius  1C,  cut  the  diameter 
AB  at  2.  With  C  as  a  center,  and  radius  C2, 
strike  an  arc  cutting  the  circumference  at  3.  C3  is 
a  side  of  the  required  pentagon.  Set  off  this  distance 
on  the  circumference  five  times.  Draw  4C,  C3,  3-6t 
6-5  and  5-4,  and  the  required  pentagon  is  complete. 


14  ELEMENTARY  INDUSTRIAL  WORK. 

II. 
COMMUNITY  WORK. 

In  a  genuine  course  of  hand-work  two  things 
should  be  sought  for:  First,  the  interrelation  of 
different  problems;  secondly,  there  should  be  some- 
thing about  the  work  that  should  make  each  phase 
or  part  of  it  contribute  to  the  whole  of  the  year's 
work  and  not  let  any  one  part  of  it  be  an  isolated 
fragment.  And  this  second,  which  is  sometimes 
violated  in  trying  to  overcome  the  first,  is  a  flexible 
program  prescribed  by  the  immediate  surroundings 
and  interests  of  the  children.  It  is  never  advisable 
to  have  a  fixed  and  definite  program  to  be  carried 
out  in  every  room  of  the  grade  for  which  it  is  intended. 
No  flexibility  is  in  evidence  and  the  imagination  is 
hampered. 

In  choosing  the  form  of  community  work  to  be 
executed,  care  should  be  exercised  so  as  to  avoid 
anything  that  will  necessitate  elaborate  material  or 
equipment.  Children  should  be  permitted  to  select 
the  problem  to  be  executed,  but  the  teacher  can  always 
get  them  to  choose  something  possible.  Any  local 
industry  can  be  worked  out  in  a  simple  way.  An  ex- 
cursion or  visit  to  the  factory  should  always  precede 
the  beginning  of  the  work. 

Since  most  of  the  community  work  is  construc- 
tion from  paper  and  cardboard,  do  not  try  to  exclude 
all  other  material.  Weaving,  clay  modeling,  and 
the  use  of  splints  and  reeds  are  often  resorted  to; 
and,  since  this  often  takes  up  several  months,  work 


COMMUNITY  WORK.  15 

for  the  special  days  must  receive  its  share  of  time 
in  due  season.  Exercises  for  Thanksgiving,  Christ- 
mas, Valentine  Day,  Washington's  Birthday,  etc., 
are  used  to  advantage. 

Among  the  most  possible  executions  in  the  form 
of  community  work  are  the  following: 

1.  A  barnyard  scene,  including  the  building  of 

fences,  representation  of  fowls  and  animals, 
foliage,  etc. 

2.  Street  scenes,  including  houses,  stores,  churches, 

carts,  wagons,  telegraph  poles  and  wires, 
trees,  etc. 

3.  Railway    stations,    including    station,    freight 

and  passenger  cars,  cabs,  automobiles,  en- 
gines, etc. 

4.  A  dollhouse  constructed  of  dry-goods  boxes. 

Furnishing  to  include  not  alone  furniture, 
but  the  covering  for  the  walls  and  floors, 
and  curtains  for  the  windows. 

5.  Indian  life  in  connection  with  Hiawatha. 

6.  History  of  transportation. 

7.  Industries,  as  lumbering,  mining,  cotton,  etc. 

8.  Eskimo  life. 

9.  Modern  villages,  giving  attention  to,  or  using 

it  to  teach  sanitation  and  to  give  some  defi- 
nite ideas  about  the  planning  of  homes. 
(When   using   the   same   industry   or   scene   for 
different  rooms  of  the  same  grade  be  sure  that  each 
room  carries  a  distinction  of  its  own,  so  that  it  will  not 
be  executed  in  precisely  the  same  way  as  the  others.) 
What  has  been  suggested  is  applicable  to  the  first 
three  or  four  grades.     And  No.  9  is  applicable  to  the 
upper  grades. 


16  ELEMENTARY  INDUSTRIAL  WORK. 

The  paper  for  this  work  should  be  rather  heavy. 
Any  of  the  construction  papers  are  good,  and  bogus 
paper  which  is  used  for  many  purposes  is  quite  de- 
sirable, since  it  takes  crayon  so  well. 

The  best  way  to  use  paste  is  to  cut  small  pieces 
of  cardboard  and  put  a  small  amount  of  paste  on  a 
piece  for  each  child,  returning  the  paste  that  is  not 
used  to  the  jar.  A  formula  for  paste  is  given  in  the 
chapter  on  Miscellaneous  Paper  Sloyd,  page  56. 


1.    A  BARNYARD  SCENE. 

White  paper,  scissors  and  paste  are  needed  for 
this  problem.  It  is  well  to  have  the  blunt-pointed 
scissors,  so  that  the  young  children  will  not  injure 
themselves.  The  cuttings  are  free-hand,  and  then 
pasted  on  the  blackboard.  After  the  work  is  finished 
the  paste  is  easily  removed  by  washing,  and  you  have 
a  fresh,  clean  board. 

This  is  probably  one  of  the  simplest  forms  of 
community  work,  and  makes  an  excellent  problem 
for  the  first  grade.  Silhouette  work  is  of  the  same 
type  where  the  cutting  is  done  in  black  paper  and 
mounted  on  white  or  manila  paper.  The  scene  il- 
lustrated in  plate  1  is  only  one  of  the  many  possible 
ones.  Story-telling  can  be  illustrated  in  an  interesting 
and  fascinating  way. 

After  the  subject  has  been  decided  upon,  let 
each  child  decide  upon  the  things  he  will  have  in  his 
barnyard.  Then  permit  him  to  cut  free-hand.  You 
will  be  surprised  at  the  originality  that  some  will 
show. 


COMMUNITY  WORK. 


17 


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18  ELEMENTARY  INDUSTRIAL  WORK. 

Do  not  infer  that  the  cuttings  of  all  of  the  different 
things  are  to  be  made  at  one  sitting.  Decide  upon 
an  animal  or  object  for  each  lesson,  and  then  have 
each  one  cut  a  number  of  these  and  select  some  of 
the  best  ones  for  mounting.  It  is  not  wise  to  devote 
too  long  a  period,  since  the  children  become  tired 
and  possibly  their  interest  will  wane. 

After  enough  subjects  have  been  gone  over  to 
complete  the  group  the  mounting  is  taken  up.  Let 
the  children  assist  in  the  arrangement.  This  is  favor- 
able to  the  blackboard,  since  the  children  can  remain 
seated  while  the  teacher  or  one  of  the  pupils  does  the 
pasting,  and  in  mounting  the  silhouette  work  this  is 
not  always  possible.  Emphasize  the  point  that  those 
objects  nearest  them  appear  larger  than  the  ones 
farther  away. 

The  road  and  the  water  in  plate  1  were  done  in 
crayon.  This  could  be  done  to  a  certain  extent  along 
with  the  cuttings. 

If  so  desired,  a  hen-house  could  be  added  to  the 
scene.  And  that  would  include  coops  and  additional 
chickens.  The  field  just  beyond  the  barnyard  gate 
might  also  be  utilized  by  having  a  man  working  the 
soil  with  the  aid  of  a  team  of  horses. 

As  a  rule  this  problem  will  be  of  interest  to  the 
children  long  after  it  has  been  completed.  But  re- 
member that  it  is  worth  while  even  tho  the  interest 
is  only  transitory. 

2.    A  STREET  SCENE. 

This  is  best  worked  out  on  the  sand  table.  It 
is  just  a  little  in  advance  of  the  barnyard  scene,  and 
may  be  used  to  advantage  in  the  second  grade,  and 


COMMUXITY  WORK.  19 

with  some  elaboration  may  be  repeated  in  the  third 
and  fourth  if  necessary. 

If  no  sand  table  is  at  hand,  one  can  be  readily 
made  by  nailing  strips  of  1  "x4"  to  the  edges  of  a  table, 
so  that  they  project  three  inches  above  the  top,  and 
then  sawing  the  legs  so  that  it  will  be  of  a  convenient 
height  for  the  children  to  work  at.  Any  clean  sand 
can  be  used.  If  no  sand  table  can  be  made,  use  a 
large  shelf  or  the  top  of  a  table  which  has  been  covered 
with  paper. 

If  this  problem  is  being  executed  in  a  city,  then  a 
certain  street,  or  a  part  of  one,  can  be  decided  upon. 
In  the  country  teach  them  about  the  city  by  means 
of  this  problem.  Have  the  children  work  from  memory, 
and  begin  by  cutting  outlines  of  the  buildings,  and 
then  represent  the  doors  and  windows  as  well  as  other 
parts  of  a  single  view  by  the  use  of  pencil  or  crayon. 
Figures  20  and  21  show  two  different  houses.  Since 
we  are  to  represent  but  one  view  of  the  house,  and 
that  by  a  single  sheet  of  paper,  some  kind  of  a  support 
is  necessary.  Figure  25  is  designed  for  that  purpose. 
Fold  on  the  dotted  line,  and  paste  the  part  indicated 
to  the  back  of  the  part  to  be  supported. 

If  the  paper  is  fairly  stiff,  only  one  support  is 
necessary. 

The  store  in  Figure  22  may  be  used  to  advantage, 
and  can  be  varied  if  a  shopping  district  is  being  exe- 
cuted. 

The  churches  in  Figures  23  and  24  are  typical  forms. 

The  piece  of  paper  in  Figure  26  is  to  be  rolled 
and  pasted  for  a  telephone  pole,  and  a  cross-arm  pasted 
at  the  top.  If  used  on  the  sand  table,  the  end  is  simply 
pushed  into  the  sand;  but,  if  used  on  the  table  or 


20  ELEMENTARY  INDUSTRIAL  WORK. 


w^y 


shelf,  one  end  is  cut  as  indicated,  and,  bending  on 
the  dotted  lines,  the  parts  are  pasted  to  the  table. 
The  one  in  Figure  27  is  much  simpler,  since  the  pole 
and  cross-arm  are  cut  out  in  the  flat  and  supported 
in  the  same  manner. 

In  Figures  28  and  29  are  shown  two  representa- 
tions of  trees.  They  are  cut  out  in  the  flat,  and 
supported  in  the  same  manner  as  the  telephone  poles. 

The  fence  in  Figure  30  is  made  and  supported 
as  in  the  first  five  figures  in  the  plate;  but,  in  using 
this  with  more  advanced  pupils,  spaces  can  be  cut 
out  between  the  pickets,  also  some  of  the  other  prob- 
lems might  have  openings  cut  for  windows,  doors,  etc. 


COMMUNITY  WORK.  21 

Figure  32  can  be  represented  in  the  flat  and 
supported,  which  is  advisable  for  lower  grades.  The 
construction  for  the  cart  in  three  dimensions  is  shown 
in  Figure  31.  A  square  piece  of  paper  is  folded  into 
sixteen  squares.  Cut  on  the  solid  lines,  and  fold  and 
paste.  The  dotted  lines  represent  the  folded  lines. 
The  wheels  are  pasted  to  the  sides  of  the  cart  and  the 
shafts  to  the  bottom. 

The  wagon  with  a  top  in  Figure  35  can  also  be 
represented  in  the  flat  or  constructed  in  three  dimen- 
sions. A  square  (Figure  33)  is  folded,  and  then  cut 
on  the  solid  lines  as  indicated.  Figure  34,  used  for 
the  top,  is  not  a  separate  piece  in  addition  to  the 
square,  but  is  cut  from  the  row  of  four  squares  at  the 
bottom  of  Figure  33.  The  pasting  is  similar  to  that 
of  the  cart.  The  body  of  the  wagon  is  open  in  the 
rear.  This  body  can  be  shortened,  in  which  case  a 
buggy  will  appear. 

No  construction  is  given  for  the  dray  in  Figure 
36.  This  can  be  worked  out,  however,  if  the  previous 
constructions  have  been  executed. 

The  street  car  in  Figure  37  is  slightly  different, 
being  more  like  an  inverted  box  with  the  ends  closed. 
The  wheels  are  pasted  on  the  inside,  as  indicated  by 
the  dotted  lines,  and  are  smaller  than  those  on  the 
wagon. 

A  monument,  such  as  we  find  in  various  cities, 
usually  in  a  public  square,  is  shown  in  Figure  38. 
The  constructions  (Figures  39  and  40)  are  self- 
explanatory.  No  flaps  are  shown  for  securing  one 
to  the  other  when  the  smaller  one  is  placed  upon 
the  larger.  These  may  be  added  if  the  pupils  are 
advanced  enough. 


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COMMUNITY  WORK.  23 

3.     DOLL-HOUSE  CONSTRUCTION. 

This  can  be  used  to  advantage  in  any  of  the 
first  three  grades. 

It  is  necessary  to  first  have  the  house,  and  then 
construct  the  furniture,  tint  or  paper  the  walls,  and 
treat  the  floors,  because  furniture  is  never  bought 
and  then  a  house  built  to  suit  the  furniture.  The 
teacher  will  remember  that,  either  consciously  or 
unconsciously,  he  will  teach  these  children  things 
about  home-building  that  will  influence  them  very 
materially  in  their  later  life  in  reference  to  home- 
building  as  well  as  its  furnishings.  So  let  us  be  ex- 
tremely careful  that  we  teach  nothing  that  is  vulgar 
or  untruthful.  Keep  to  the  simple  constructions 
involving  few  curves,  and  let  the  decorations  be  simple 
if  any  is  necessary.  Simple  furnishings  and  furniture 
are  not  only  more  beautiful  and  artistic,  but  more 
sanitary.  They  are  sanitary,  since  straight  edges 
and  smooth  surfaces  do  not  provide  a  place  for  dust 
to  accumulate  and  germs  to  breed.  Highly-carved 
furniture,  even  when  well  cared  for,  is  dusty  nearly 
all  of  the  time. 

To  make  the  house  itself  use  dry-goods  or  soap 
boxes.  They  are  placed  on  their  sides  with  the  top 
or  open  part  of  the  box  representing  the  front  of  the 
house.  Notice  the  box  in  Plate  2.  If  the  box  is  large 
enough  a  partition  can  be  added,  which  divides  the 
box  into  two  stories.  Then,  by  nailing  parts  of  another 
box  together,  a  gable  roof  is  formed.  If  the  boxes 
are  small,  one  can  be  placed  upon  the  other,  forming 
the  two  stories  in  that  manner,   which  is  a  much 


21  ELEMENTARY  INDUSTRIAL  WORK. 

simpler  operation.  Each  of  these  stories  may  then  be 
divided  into  rooms.  Windows  are  cut,  and  casings 
may  or  may  not  be  made,  depending  upon  the  facilities. 
Cigar  boxes  cut  into  strips  make  good  material  for 
casings.  If  the  house  is  to  be  painted,  do  so  at  this 
time.  A  very  small  can  of  paint  bought  at  a  drugstore 
is  sufficient,  or  some  boy  will  usually  volunteer  to 
bring  the  paint  from  home.  The  tools  needed  are  a 
saw  and  a  hammer.  These  may  be  had  in  the  same 
way  as  suggested  with  reference  to  the  paint.  A  steel 
square  can  also  be  used  to  advantage,  but  is  not 
absolutely  necessary.  The  nails  extracted  from  the 
boxes  will  prove  ample. 

The  walls  of  the  kitchen  may  be  covered  with 
paper  tinted  gray.  Then  a  wainscoting  is  also  de- 
sirable, and  can  be  made  from  strawboard,  ruling 
pencil  lines  to  represent  the  beading.  If  no  special 
material  has  been  provided,  tablet  backs  can  be  used. 

The  paper  in  the  bedroom  may  be  decorated  by 
the  repetition  of  some  simple  unit.  Chapter  XI  may 
be  consulted. 

The  dining-room  may  be  a  plain  color,  beginning 
on  the  lower  parts  of  the  wall,  and  gradually  becoming 
thinner  until  it  is  a  light  wash  on  the  ceiling. 

For  the  floor  in  the  kitchen  use  designed  linoleum, 
to  be  executed  in  black  or  appropriate  color.  Folding 
manila  is  a  most  excellent  paper  for  this,  but  other 
paper  can  be  used.  The  designs  worked  out  in  single- 
mat  weaving  in  the  chapter  on  weaving  afford  ex- 
cellent suggestions  for  this  design. 

If  matting  is  wanted  for  one  of  the  rooms — say, 
the  dining-room — it  can  be  woven  from  raffia.  This 
weaving  is   also  given  in  the  chapter  on  weaving. 


COMMUNITY  WORK.  25 

Rugs  are  described  in  the  same  chapter.  Four  small 
rugs  can  be  woven  and  sewed  together,  forming  an 
art  square.  If  a  pattern  is  involved,  each  fourth  has 
a  part  of  the  pattern,  and  will  be  complete  when  the 
four  are  put  together.  The  Figures  41-64  are  quite 
complete,  the  dotted  lines  representing  folded  lines, 
and  the  solid  ones  cut  lines.  Uniform-sized  squares 
of  bogus  or  construction  papers  are  used.  Con- 
venient sizes  are  6"  or  8". 

The  constructions  are  all  based  on  the  sixteen 
squares.  The  folding  should  be  done  in  concert  as 
described  in  the  chapter  on  weaving  under  the  heading 
* 'Right  and  Left  Weaving."  Brown  wrapping-paper 
is  a  good  substitute  for  the  papers  mentioned. 

If  this  text  is  being  used  without  an  instructor, 
do  not  attempt  to  interpret  the  figures  by  merely 
glancing  over  them.  Take  a  square  of  paper,  and 
fold  and  cut  as  you  attempt  to  read  the  figure,  and 
success  is  assured. 

After  folding  Figure  41,  cut  on  the  solid  lines, 
and  then,  putting  the  large  piece  together,  a  chair  is 
constructed.  The  squares  that  have  a  cross  in  them 
fall  away  and  are  not  used.  The  seat  will  be  one 
square  from  the  floor,  with  the  back  two  squares  in 
height.  The  children  will  probably  suggest  of  their 
own  accord  that  the  back  is  too  tall.  Draw  diagonals 
in  the  upper  square,  and  cut  as  in  Figure  41.  If  the 
children  are  not  yet  familiar  with  the  term  "diagonal," 
this  affords  an  easy  opportunity  of  teaching  it.  The 
three  squares  marked  "support"  are  to  be  pasted  on 
the  back  of  the  chair,  making  it  stronger.  It  saves 
time  to  do  this  at  the  time  of  pasting  and  before  the 
back  is  cut  down. 


26  ELEMENTARY  INDUSTRIAL  WORK. 


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COMMUNITY  WORK.  27 

Figure  J42  (the  cupboard)  is  put  together  just 
like  a  box.J  Then  the  three  squares  labeled  "shelf" 
adjust  themselves  without  difficulty. 

The  settee  in  Figure  43  is  cut  as  indicated,  and 
put  together  by  using  the  part  with  the  diagonal 
cuttings  for  the  backs  and  arms.  This  makes  the 
seat  one  square  in  height  and  the  back  the  same. 
The  half  for  the  seat  is  first  folded  and  pasted  and 
the  back  and  arms  pasted  around  it.  The  washstand 
(Figure  44)  is  easily  solved.  The  back  is  folded  up 
after  folding,  and  the  stand  is  complete.  Places 
can  be  cut  at  the  bottom  the  same  as  on  the  chif- 
fonniere  in  Figure  45. 

Too,  drawers  and  a  door  are  represented  on  the 
paper  in  crayon  or  pencil.  The  chiffonniere  (Figures 
45  and  46)  is  similar  to  the  washstand.  After  con- 
structing Figure  45  cut  out  Figure  46,  and  paste  a 
piece  of  white  paper  (Japanese  rice  paper  is  excellent) 
over  the  opening  and  on  the  back  side  to  form  the 
mirror.  This  is  then  fastened  to  the  back  of  the  body 
of  the  chiffonniere  by  pasting,  having  the  top  edge 
coming  to  the  folded  line  below  the  mirror. 

Figures  47  and  48  show  two  tables.  The  one  in 
47  is  like  an  inverted  box  with  the  legs  added.  The  one 
in  Figure  48  is  made  by  first  getting  out  the  rails, 
which  are  made  like  an  inverted  box.  The  top  is 
pasted  on  the  rails,  having  it  project  over  an  equal 
distance  on  the  four  sides.  Add  the  legs,  and  the  table 
is  complete.  The  tapers  are  added  as  indicated  in 
the  one  that  is  adjoining  the  rails  in  Figure  8.  This 
is  more  readily  done  by  cutting  them  out  square, 
folding  and  cutting  the  two  edges  at  the  same  time. 
The  Morris  chair  (Figure  49)  is  similar  to  the  straight 


28  ELEMENTARY  INDUSTRIAL  WORK. 

chair  in  Figure  41.  In  reality  it  should  be  somewhat 
larger  than  the  straight  chair.  It  is  constructed  in 
the  same  manner,  and  then  the  four  squares  are  pasted 
around  the  chair,  forming  the  arms.  This  also  in- 
clines the  back  of  the  chair. 

Figures  50-52  are  self-explanatory.  The  four 
squares  that  fall  away  in  making  the  screen  (Figure  50) 
may  be  used  to  make  the  pipe  for  the  stove.  The 
doors  represented  in  Figure  51  are  done  in  pencil,  as 
mentioned  in  Figure  44.  In  fact,  all  of  these  pieces 
of  furniture  should  have  doors,  etc.,  represented  in 
pencil.  This  also  includes  the  cover  for  the  stove. 
Figure  52,  after  cutting,  readily  becomes  Figure  51. 

Two  ends  are  needed  for  the  cradle  in  Figure  53. 
The  design  drawn  is  by  no  means  the  only  one.  Where 
necessary  it  can  be  made  much  simpler.  The  body  is 
folded  and  cut  as  indicated,  and  an  end  with  the 
rocker  attached  is  pasted  at  either  end.  The  bed  in 
Figures  54  and  55  is  so  similar  to  the  cradle  that  it 
will  not  be  necessary  to  describe  it. 

The  rocker  (Figure  56)  is  typical  of  the  manner 
in  which  any  of  these  constructions  can  be  elaborated 
upon. 

The  tabouret  in  Figure  57  shows  two  forms  of 
decoration  for  the  sides.  There  are  many  others,  but 
avoid  sharp  curves  and  angles. 

Figure  58  is  a  davenport  readily  constructed  from 
the  figure.  Seats  for  the  lawn  can  be  made  in  a  similar 
manner. 

Figure  59  is  the  construction  for  the  body  of  a 
swing  which  is  to  be  suspended  similar  to  a  porch 
swing.  The  construction  is  readily  worked  out  from 
the  figure,  the  seat  being  pasted  to  the  inside  after 


COMMUNITY  WORK. 


29 


the  body  has  been  finished.  Strips  of  pasteboard 
with  one  end  bent  may  be  crossed  to  make  supports 
and  the  bent  ends  pasted  to  the  floor. 


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Figures  60-62  show  the  construction  for  the 
summer-house  in  Figure  63.  The  base  or  floor  is 
shown  in  Figure  60,  and  the  support  (Figure  61)  for 
the  roof  (Figure  62.)  The  posts  shown  in  Figure  63, 
on  which  the  support  for  the  roof  is  placed,  are  not 
represented  by  a  construction.  Flat  splints  may  be 
used,  or  posts  can  be  made  of  paper  with  flaps  at 
either  end  for  pasting.     The  summer-house  is  a  val- 


30  ELEMENTARY  INDUSTRIAL  WORK. 

uable  addition  to  the  lawn  if  a  large  table-top  or  shelf 
isjised  to  support  the  doll-house. 

The  steps  in  Figure  64  are  necessary  where  the 
doll-house  has  a  foundation.  Only  two  steps  are 
ordinarily  required.  Figure  64  makes  an  excellent 
grand-stand  if  working  out  a  project  that  demands  it. 

A  broom  is  constructed  by  securing  a  number  of 
short  pieces  of  raffia  to  one  end  of  a  small  splint,  and 
fraying  out  the  raffia  with  a  pin. 

tf  Any  other  articles  of  furniture  desired  in  a  scheme 
of  this  kind  are  readily  worked  out  if  the  twenty-four 
figures  given  are  understood.  Simply  study  the  piece 
of  furniture  you  wish  to  make,  and  then  take  the 
folded  square  and  begin  operation.  Stopping  to  think 
how  difficult  it  will  be  never  does  anything  but  harm. 

Such  additional-articles  of  furniture  as  pianos, 
bookcases,  writing-desks  and  kitchen  cabinets  are 
desirable. 

No  constructions  for  the  gymnasium  shown  in 
the  attic  of  Plate  2  are  given.  These  are  readily 
executed,  some  of  them  even  without  studying  the 
objects  themselves,  as  ladders,  dumbbells,  Indian 
clubs,  mats,  trapezes,  etc. 

As  has  been  suggested  in  Figures  58  and  63,  the 
yard  is  a  part  of  the  general  scheme.  Bogus  paper 
makes  good  concrete  walks.  Trees  and  shrubs  are 
constructed  from  green  paper.  Green  twigs  should  be 
avoided  if  possible,  since  they  dry  up  and  are  not  a 
good  representation  of  shrubbery.  With  very  young 
children,  however,  it  is  permissible.  Tennis  courts  and 
swings  are  also  suggested.  If  a  barn  is  to  be  included, 
its  construction  can  be  had  from  the  following  section 
on  houses. 


COMMUNITY  WORK. 


31 


4.  THE  BUILDING  OF  HOUSES. 


The  construction  for  a  house  given  in  Plate  3 
can  be  executed  by  fourth-  or  fifth-grade  children.  If 
it  is  necessary  to  use  it  for  such  a  grade,  different-size 
houses  may  be  constructed,  and  some  of  them  may 
have  the  chimneys  omitted  and  be  used  to  represent 
barns.  Bogus  paper,  folding  manila,  tagboard  and 
the  various  construction  papers  may  be  used. 


Roof 


End  flevation  Front  E/evatton 


The  dotted  lines  are  to  be  folded,  and  the  solid 
lines  represent  the  ones  that  are  to  be  cut.  The  flaps 
are  for  pasting  when  putting  the  house  together.  The 
roof  will  be  found  the  most  difficult  to  paste. 


32  ELEMENTARY  INDUSTRIAL  WORK. 

This  problem  increases  in  interest,  however,  when 
it  is  used  as  a  seventh-  or  eighth-grade  project,  where 
the  classes  have  acquired  considerable  skill  in  the 
measuring,  cutting  and  manipulation  of  the  paper. 
Plate  4  shows  parts  of  two  villages  constructed  in  the 
manner  here  suggested. 

The  first  steps  are  the  construction  of  a  house 
such  as  the  one  in  Plate  3,  being  careful  that  accurate 
results  are  obtained.  If  the  class  is  advanced  enough, 
a  simple  free-hand  drawing  of  the  front  and  end  ele- 
vation should  precede  the  construction.  After  the 
house  has  been  constructed,  the  drawing  of  the  floor 
plan,  end  elevation  and  front  elevation  should  be  done 
with  the  aid  of  a  ruler.  Two  elevations  and  the  floor 
plan  are  shown  in  Plate  3.  If  drawing-kits  are  avail- 
able, they  should  be  used  here.  Consult  the  chapter 
on  mechanical  drawing  unless  it  is  quite  fresh  in  your 
mind.  A  house  or  building  for  the  village  is  next 
decided  upon  by  each  member  of  the  class.  These 
may  be  chosen  from  books  or  magazines  that  are  to 
be  had,  or  from  houses  that  are  to  be  found  in  the 
vicinity  of  the  school. 

Here  again  it  is  necessary  to  have  sketches  of  the 
elevation  and  of  the  floor  plan.  At  this  stage  it  is 
necessary  to  decide  upon  the  size  of  the  lots,  other- 
wise the  houses  will  not  fit  well  into  a  city  scheme. 
If  the  class  is  large,  and  the  place  for  mounting  the 
city  not  correspondingly  large,  9"xl2"  will  be  found  a 
convenient  size. 

A  plan  of  the  lot,  full  size,  is  next  drawn,  and  the 
house  located  by  means  of  the  floor  plan  for  the 
house.  Then  finish  the  plan  for  the  lot,  which  will 
include  walks,  grass  and  shrubbery.     It  may  include, 


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-- 


34  ELEMENTARY  INDUSTRIAL  WORK. 

in  addition  to  this,  a  garden,  barn,  fences,  garage,  etc. 
Be  sure  that  the  house  is  first  represented  on  the  lot 
by  the  floor  plan,  and  then  the  walks,  shrubbery, 
etc.,  because,  as  a  rule,  houses  are  not  built  to  accom- 
modate shrubbery,  etc.,  but  the  shrubbery,  walks 
and  other  additions  are  made  to  beautify  the  house 
and  make  it  more  convenient. 

A  pattern  is  first  constructed  from  bogus  or 
manila  paper.  The  main  part  of  the  house  should  be 
made  from  one  piece,  however.  If  necessary,  single 
rooms  or  galleries  may  be  added.  The  dormer  and  bay 
windows  are  constructed  separately  and  pasted  to  the 
house.  Foundations  should  be  represented.  Bogus 
paper  is  used  to  advantage  as  concrete,  stone  or  stucco 
work.  The  columns  for  the  verandas  and  porches  may 
be  made  either  square  or  round. 

In  choosing  paper  for  the  construction  of  the 
house  itself,  use  a  darker  tone  of  the  same,  or  another 
color,  for  the  trimmings  or  roof.  The  windows  and 
doors  may  be  represented  in  several  ways — by  ruling 
lines  and  pasting  on  the  paper  for  the  casings,  cutting 
out  the  windows  and  pasting  thin  paper  on  the  inside, 
pasting  a  piece  of  paper  on  the  inside  on  which  draped 
curtains  have  been  drawn  in  pencil  or  ink. 

While  the  work  is  going  on,  an  opportune  time 
for  teaching  the  pupils  and  having  them  become 
familiar  with  the  various  parts  of  a  house  is  afforded. 
Such  terms  as  corner-board,  water-table,  weather- 
board, entablature,  cornice,  frieze,  architrave,  rake 
and  return  of  cornice,  corona,  facia,  post,  capital, 
parts  of  the  window  (muntin,  meeting-rails,  sash, 
casing  or  trim,  sill,  and  wash),  etc.,  should  now  become 
a  part  of  their  vocabulary. 


COMMUNITY  WORK.  35 

The  house  completed  and  the  other  demands  of 
the  plan  executed,  a  complete  working  drawing  is 
made.  Make  as  many  elevations  as  are  necessary. 
Only  one  side  elevation  is  necessary  if  both  sides  of 
the  house  are  constructed  alike.  A  in  the  floor  plan, 
Plate  3,  represents  a  door,  and  B  windows. 

This  problem  always  carries  so  many  good  things 
with  it  that  it  has  been  found  very  much  worth  while. 
It  reflects  to  a  large  extent  the  living  ideals  of  the 
children,  and  affords  us  an  opportunity  of  correcting 
them  where  they  are  wrong. 

Many  uses  can  be  made  of  this  problem.  In 
addition  to  an  ordinary  village,  it  may  be  used  to 
execute  villages  in  connection  with  geography.  Tropi- 
cal villages  can  be  made  an  interesting  method  of 
teaching  history,  and  the  tropical  towns  become  much 
more  real  when  brought  to  the  schoolroom  in  minia- 
ture. The  Spanish  and  other  architecture  can  be 
taught  and  made  a  concrete  rather  than  an  abstract 
thing.  Last,  but  not  least,  we  can  build  Japanese 
village's,  and  represent  that  nation  at  home  and  at 
work  surrounded  by  beauty. 


36  ELEMENTARY  INDUSTRIAL  WORK. 

III. 

SPECIAL-DAY  EXERCISES. 

As  has  been  suggested  in  the  preceding  chapter, 
there  has  always  been  a  demand  for  special-day 
exercises.  Of  these,  Christmas,  St.  Valentine,  Wash- 
ington's Birthday  and  Easter  will  be  considered. 
Before  proceeding  farther  with  this  work,  get  in  mind 
the  fact  that  you  should  notice  from  time  to  time 
how  suggestions  offered  for  one  of  the  special  days 
may  readily  be  converted  into  material  for  any  of 
the  others.  The  progressive  teacher  can  take  advan- 
tage of  this,  and  always  have  a  large  number  of  dif- 
ferent projects  if  there  is  a  need  for  them. 

The  execution  of  these  depends  on  the  age  and 
ability  to  handle  material.  Crayon  should  be  used  in 
the  lower  grades,  and  replaced  by  water-colors  as 
soon  as  possible.  Lettering  should  be  done,  as  a  rule, 
in  black.  It  makes  a  pleasing  variety  to  have  some 
of  the  work  outlined  in  black  and  then  filled  in  in 
color,  especially  where  a  somwhat  similar  card,  calen- 
dar or  booklet  is  used  in  several  of  the  grades.  Any 
kind  of  drawing  or  construction  paper  may  be  used. 
Bristol  board  can  be  put  to  many  uses.  Be  especially 
careful  of  the  lettering  in  all  of  this  work.  The  chapter 
on  mechanical  drawing  should  be  consulted  in  lettering. 
Good  results  in  lettering  should  be  demanded  as  low 
as  the  third  grade,  and  surprisingly  good,  results 
will  be  obtained  in  the  first  and  second  grades  if  a 
little  special  attention  is  given  to  it.  The  letters 
should  for  the  most  part  be  drawn  free-hand.    Avoid 


SPECIAL-DAY  EXERCISES. 


37 


long  quotations  or  greetings  in  the  lower  grades.  If 
there  is  a  lack  of  material  for  the  decoration  of  these 
projects,  consult  the  chapter  on  designs.  Envelopes, 
gift  boxes,  hanging  baskets,  May  baskets,  and  candy 
boxes  will  be  included  in  this  chapter. 


1.    HOLIDAY  SEASON. 


For  the  decoration  of  these,  the  motifs  have  been 
taken  from  Christmas  symbols  or  things  associated 
with  the  holiday  season. 


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Figures  65  and  66  are  very  simple  calendars 
designed  for  the  first  two  grades.  The  circles  are 
holly  berries,  so  they  will  be  colored  red.  The  lines 
may  be  green  or  black.    The  square  and  oblong  forms 


38  ELEMENTARY  INDUSTRIAL  WORK. 

represent  the  places  for  the  calendars.  The  small 
calendar  pads,  which  can  be  obtained  from  any  drug 
or  novelty  store,  or  ordered  along  with  other  materials, 
are  pasted  in  place  as  indicated.  The  calendars  are 
then  complete. 

Figure  67  is  shown  ready  for  a  greeting.  The 
card  or  frame  is  made  from  a  square  piece  of  paper. 
Begin  by  folding  it  in  the  center  both  ways.  The 
folds  are  indicated  by  the  dotted  lines  in  the  figure. 
Then  fold  each  corner  so  that  it  comes  just  to  the  point 
where  the  dotted  lines  cross.  The  corner  is  then 
folded  back  again,  taking  the  position  shown  in  the 
figure.  Any  simple  design  may  be  used  on  the  corners 
and  colored  or  inked.  The  motto  or  greeting  is  lettered 
on  a  square  of  paper  and  placed  inside  of  the  square, 
thus  covering  the  lines  left  by  folding.  The  diameters 
may  be  ruled  on  the  back  side,  and  the  greeting 
lettered  on  the  folder  itself. 

This  project  can  be  used  for  a  picture  frame, 
valentine  or  Easter  card.  It  may  be  varied  by 
punching  holes  and  tying  at  each  corner  with  cord, 
raffia  or  ribbon.  Cutting  away  the  small  corners  or 
triangles  makes  a  larger  unit  possible. 

The  bookmark  in  Figure  68  speaks  for  itself. 
The  wider  part  at  the  top,  which  has  the  conven- 
tionalized tree,  is  folded  over. 

Figure  69  makes  a  very  attractive  folder,  and 
can  be  used  for  any  of  the  special-day  projects,  and 
also  makes  a  very  attractive  form  of  invitation.  In- 
vitations are  often  made  to  use  in  inviting  parents 
and  friends  to  school  exercises  or  programs,  and 
afford  not  a  little  training  for  the  children.  The 
greeting  may  be  written  on  the  inside  if  done  by 


SPECIAL-DAY  EXERCISES.  39 

young  children,  and  a  simple  decoration  used  on  the 
cover.  For  older  children  using  the  design  in  Figure 
69,  letter  the  greeting  on  a  separate  piece  of  paper, 
and  paste  by  putting  a  small  amount  of  paste  in  one 
spot,  just  enough  to  keep  it  in  place. 

A  little  in  advance  of  the  preceding  are  Figures 
70-72.  For  the  cover  a  heavier  paper  is  used.  This 
is  cut  away  and  folded  in  the  center  as  shown  in 
Figure  70.  The  leaves  are  cut  just  a  little  smaller, 
so  that  the  covers  will  project  a  little  beyond  the 
leaves,  as  they  do  in  any  book.  It  will  be  well  to 
emphasize  again  that  we  should  always  notice  the 
practical  example  of  the  article  that  we  are  construct- 
ing. The  design  in  Figure  71  is  a  most  simple  one, 
and  can  also  be  worked  into  a  border.  The  one  in 
Figure  72  is  more  difficult  to  execute,  and  is  intended 
for  older  children.  The  suggestions  in  Figures  76-78 
may  also  be  used  so  as  to  have  a  variety. 

Figure  73  is  simply  a  card,  showing  what  can  be 
done  in  this  direction.  Stress  should  be  placed  on 
the  lettering.  This  card  demands  an  envelope;  in 
fact,  all  of  the  projects  in  the  holiday  class  do.  The 
plate,  including  Figures  79-89,  shows  three  styles  of 
envelope.  The  one  in  Figure  81  is  most  desirable 
for  gift-work.  The  proportion  should  be  first  worked 
out  for  the  finished  envelope,  and  enough  added  for 
the  flaps  in  order  to  ascertain  the  dimensions  of  the 
paper  from  which  it  is  to  be  cut.  After  the  paper  is  cut, 
draw  the  pencil  lines  indicated  by  the  dotted  lines.  Cut 
the  flaps  as  indicated  in  the  same  figure.  The  envelope 
folded  and  pasted  in  Figure  89  shows  that  the  flap  at 
the  top  is  rather  narrow.  This  is  done  so  that  it  is 
more  easily  closed. 


40  ELEMENTARY  INDUSTRIAL  WORK. 

Figure  74  is  a  decorative  calendar,  differing  from 
Figures  65  and  66  in  the  design  and  proportion  only. 
Children  who  attempt  this  and  cannot  draw  well  may 
cut  a  holly  leaf  from  paper  and  mark  around  it  in  order 
to  get  all  of  the  parts  alike.  This  calendar  is  supported 
in  the  same  way  as  the  different  projects  using  the  con- 
struction given  in  Figure  25. 

The  folder  in  Figure  75  is  similar  to  Figure  69. 
The  Christmas  tree  may  be  used  in  many  other  decora- 
tive ways.    Figures  76-78  show  simple  borders. 

Many  additional  projects  could  be  suggested,  but 
the  ones  given  are  more  than  sufficient  to  give  material 
for  a  working  basis.  Only  remember  not  to  try  to  do 
detailed  and  elaborated  projects. 

2.    ENVELOPES. 

Figures  79-82  show  the  different  steps  in  the 
execution  of  a  very  simple  and  effective  envelope. 
A  square  piece  of  paper  is  cut  and  folded  as  indicated 
in  Figure  79.  Then  Figure  80  shows  it  folded  a  single 
time,  making  two  thicknesses  of  paper;  Figure  81 
shows  that  each  lower  corner  is  folded  towards  the 
center;  and  Figure  82  with  the  upper  corner  or  triangle 
folded  down,  making  the  completed  envelope.  The 
envelope  is  then  partially  unfolded  and  pasted.  The 
last  or  upper  flap  in  Figure  82  is  not  pasted  unless  it 
is  to  be  sealed,  and  even  then,  if  using  it  for  gift-work, 
it  is  more  effective  and  satisfactory  if  inclosed  in  an- 
other envelope.  This  envelope  is  especially  desirable 
for  small  children  who  can  do  no  measuring  at  all. 

No  dimensions  are  given  for  the  report-card 
envelope  shown  completed  in  Figure  85,   since  the 


SPECIAL-DAY  EXERCISES. 


41 


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sizes  vary.  In  order  to  determine  the  size  of  paper 
from  which  it  is  to  be  made,  take  for  the  size  of  the 
large  oblong  in  Figure  83  slightly  more  than  the  size 
of  the  card,  in  both  length  and  width.  To  get  the 
width  of  the  oblongs  on  either  side,  add  j"  to  one- 
half  of  the  width  of  the  large  one.  The  width  of  the 
flap  on  the  lower  part  of  the  envelope  is  to  be  cut  in 


42  ELEMENTARY  INDUSTRIAL  WORK. 

proportion  to  the  size.  Figure  84  shows  Figure  83 
after  cutting  on  the  solid  lines,  and  is  ready  for  pasting. 
After  pasting  cut  a  niche  at  the  top  of  the  envelope 
as  shown  in  Figure  85.  This  aids  in  withdrawing  the 
card  from  the  envelope. 

Figures  86  and  87  need  little  explanation,  the 
size  of  the  paper  being  determined  in  the  same  manner 
as  in  the  paper  for  Figure  85.  Notice  that  the  flap 
below  the  large  oblong  is  much  wider  than  the  one 
above  it.  This  is  more  appropriate  for  the  gift  en- 
velope, since  the  upper  one  is  inserted  in  the  envelope 
instead  of  pasting  it.  If  it  is  to  be  pasted,  the  flaps 
may  be  of  the  same  width.  Be  careful  to  have  the 
corners  of  the  lower  flaps  to  coincide  with  the  edges 
of  the  flaps  on  the  ends. 

These  envelopes  are  suitable  for  all  of  the  gift- 
work. 

3.    BOXES. 

The  boxes  in  Figures  88-92  are  typical  of  what  can 
be  done  in  the  way  of  making  boxes.  Figure  88  is 
one  of  the  simplest  that  can  be  executed.  A  square 
of  the  desired  size,  and  three  dots  made  on  each 
edge,  dividing  the  edge  into  four  equal  spaces,  are 
first  executed.  Then  draw  lines  for  folding,  indicated 
in  Figure  88  by  the  dotted  lines.  Fold  and  cut  solid 
lines  as  indicated.  In  folding  it  will  be  seen  that 
the  four  corners  make  a  suitable  top,  or  cover.  Paste 
where  necessary  to  hold  the  sides  together. 

A  plain  open  box  is  shown  in  Figure  89.  Cut 
on  the  solid  lines  and  paste  the  flaps  on  the  inside. 
This  box  may  be  used  with  or  without  a  cover.    The 


SPECIAL-DAY  EXERCISES. 


43 


cover  is  made  in  the  same  manner.  The  sides  are 
not  to  be  more  than  1"  in  height.  It  is  constructed 
(Figure  90)  the  same  as  Figure  89. 


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The  gift-boxes  in  Figures  91  and  J2  can  be  varied 
both  in  design  and  construction,  especially  Figure  92, 
which  may  be  decorated  by  repeating  some  unit, 
using  a  block  print.  Consult  the  chapter  on  design 
which  explains  about  the  cutting  of  the  block  as  well 
as  designing  the  unit. 

4.    ST.  VALENTINE. 


No  large  number  of  motifs  are  available,  but  much 
can  be  done  with  those  suggested  in  Figures  93-107. 


44         ELEMENTARY  INDUSTRIAL  WORK. 

Avoid  the  gaudy  colors  except  for  very  young  children. 
A  heart  will  not  appeal  to  them  unless  it  really  is  red. 

Figure  93  may  be  made  from  one  or  two  pieces 
of  paper.  Fold  a  piece  of  paper  in  the  center,  and 
cut  the  desired  shape  so  that  both  halves  of  it  will 
be  uniform.  For  the  lower  grades  cut  a  large  heart 
and  a  small  one,  pasting  the  white  one  on  the  red 
one.  The  message  or  greeting  is  written  on  the  white 
one.  If  one  heart  is  used,  draw  a  small  heart  on  the 
large  one,  and  the  message  will  be  in  the  same  position. 

The  construction  for  Figure  94  is  simplest  if  a 
large  heart  is  cut  and  parallel  lines  drawn  on  it,  making 
smaller  hearts  so  that  they  may  be  cut  and  drawn  in 
turn,  thus  having  the  whole  set  conforming  to  the 
same  shape.  The  large  one  drawn,  cut  for  the  second 
one;  draw  the  second,  and  cut  for  the  third,  etc. 
Punch  holes  and  secure  by  means  of  cord,  or  cut 
slits,  and  use  ribbon.  Lettering  is  done  free-hand. 
Remember  the  suggestions  offered  in  the  preceding 
pages. 

Figure  95  is  made  in  two  ways.  The  two  hearts 
may  be  cut  separately  and  then  secured  with  ribbon 
or  cord,  with  a  bow  at  the  end  for  hanging.  To  make 
it  more  difficult,  but  stronger,  draw  it  so  as  to  be 
cut  in  one  piece. 

Figure  97  is  designed  to  have  a  message  written 
between  the  two  covers  and  a  greeting  on  the  outside 
cover.  Figure  96  shows  the  construction  for  Figure 
97.  Color  is  applied  around  the  outer  edge  without 
guide  lines,  which  gives  an  irregular  outline,  dividing 
the  white  from  the  colored  part  of  the  valentine. 

The  fire-cracker  valentine  (Figure  98)  will  be  of 
great  interest  to  children  in  any  of  the  elementary 


SPECIAL-DAY  EXERCISES. 


45 


grades.  Use  red  paper  for  Figure  100.  This  is  to 
form  the  fire-cracker  proper.  Roll  it  on  a  pencil  or 
some  round  object,  and  paste.  Then  slip  out  the 
pencil,  and  you  have  a  red  tube.  Figure  99  is  for 
the  message,  and  has  a  piece  of  cord  pasted  along 


46  ELEMENTARY  INDUSTRIAL  WORK. 

one  edge.  Write  the  message  and  roll  around  the 
cord,  and  slip  into  the  tube.  It  will  unroll  enough 
to  keep  it  in  place.  The  part  of  the  cord  left  hanging 
out  forms  the  fuse,  and  is  used  to  withdraw  the  mes- 
sage. This  makes  it  equal  in  appearance  to  a  real 
fire-cracker  and  far  less  harmful. 

Figures  101-104  are  cards,  and  show  different 
methods  of  decoration. 

The  folder  in  Figure  105  is  intended  to  have  the 
message  printed  on  a  card  and  mounted  under  the 
covers  of  the  folder  the  same  as  in  the  Christmas 
folders,  Figures  69  and  75. 

Figure  106  illustrates  what  may  be  done  in  the 
way  of  booklets.  The  envelope  in  Figure  107  is  but 
one  of  the  possible  decorations.  The  different-sized 
hearts  may  be  drawn  in  the  same  manner  as  sug- 
gested in  Figure  94. 

Avoid  the  use  of  darts  or  arrows  as  much  as  you 
can,  and  especially  the  cutting  of  them  attached  to 
the  hearts,  for  that  makes  a  poor  construction,  since 
the  darts  are  so  weak  that  they  tear  off  easily,  thus 
making  a  valentine  shortlived. 

5.    WASHINGTON'S  BIRTHDAY. 

Programs  are  often  planned  at  this  season  that 
require  some  of  the  classes  to  parade  or  march,  and 
banners,  shields,  badges,  etc.,  are  needed. 

A  very  effective  badge  is  made  like  Figure  109. 
Cut  three  circles  of  the  same  size  (Figure  108),  one 
of  each,  red,  white  and  blue.  If  paper  in  the  three 
colors  is  not  available,  drawing  paper  may  be  colored. 
After  the  circles  are  cut,  cut  a  line  from  the  center  to 


SPECIAL-DAY  EXERCISES. 


47 


the  circumference,  as  shown  in  the  figure.  The  circles 
are  then  slipped  within  each  other  and  turned,  so  as 
to  adjust  themselves,  showing  equal  parts  of  red, 
white  and  blue  (Figure  109).  Paste  so  they  will 
remain  in  place. 


For  the  shields  (Figures  1 1 0  and  111)  use  drawing 
paper.  A  half  sheet,  6"x9n,  is  a  good  size.  To  get  a 
pattern,  fold  paper  in  the  center  lengthwise,  and  cut 
free-hand  for  the  form  of  the  shield,  and  trace  on  the 
drawing  paper.     Measure  down  a  proportionate  dis- 


48  ELEMENTARY  INDUSTRIAL  WORK. 

tance  from  the  top  for  the  blue  field.  The  stripes 
are  then  measured  and  ruled.  The  stars  are  cut  and 
traced  on  the  blue  field.  The  shield  is  now  ready  for 
color.  Crayon  or  water-colors  may  be  used.  For 
very  young  children  the  stars  may  be  cut  from  colored 
paper  and  pasted  in  place. 

If  banners  for  marching  are  desired,  attach  same 
to  a  pole  as  shown  in  Figure  112. 

A  simple  hat  is  shown  in  Figure  1 1 4.  The  con- 
struction (Figure  113)  is  quite  simple,  being  only  a 
circular  piece  of  paper  folded  in  six  places.  Draw 
three  radii,  and  fold  nearly  half  their  length,  beginning 
at  the  circumference.  The  other  three  folds  indicated 
in  the  figure  complete  the  hat. 

A  good  size  for  a  tent  (Figure  115)  is  6"x9". 
Begin  the  construction  by  folding  the  dotted  lines  as 
indicated  in  Figure  1 16.  Cut  ends  of  the  folds  in  the 
center  as  indicated  in  Figure  1 1 7 .  The  tent  is  then 
set  up  and  pasted  at  the  gables. 

The  soldier's  knapsack  in  Figure  1 1 8  is  dimen- 
sioned; not  in  inches  necessarily,  but  in  terms  of  a 
unit.  It  is  folded  lengthwise  and  pasted.  The  flap 
with  the  1  J  is  the  one  used  for  closing.  Then  a  piece 
of  paper  is  pasted  with  an  end  on  each  side  to  act  as 
a  shoulder-strap  for  carrying. 

Figure  1 1 9  shows  a  more  elaborate  hat  than  the 
one  in  Figure  1 14.  The  brim  is  shown  in  Figure  120. 
The  dimensions  are  given  on  the  hat.  The  central 
part  is  cut  out  and  the  crown  shown  in  Figure  121  is 
cut  and  put  in  place.  The  band  in  Figure  1 22  is  pasted 
around  the  crown.  If  the  folds  on  the  dotted  lines  in 
Figure  1 20  were  carefully  made,  the  hat  is  now  complete. 

Flags  may  be  made  of  cheesecloth,  and  colored  by 
using  water-colors. 


SPECIAL-DAY  EXERCISES.  49 


6.     EASTER  SEASON. 

If  the  previous  parts  of  this  chapter  have  not 
been  worked  out,  it  will  be  well  to  at  least  read  them 
before  attempting  the  Easter  problem. 

To  make  the  card  in  Figure  123,  cut  a  pattern 
and  mark  around  it  in  order  to  cut  the  eggshaped 
pieces  of  drawing  paper,  or  whatever  kind  of  paper 
is  being  used.  It  may  be  finished  by  simply  coloring 
and  securing  by  means  of  a  cord  or  ribbon.  The 
drawing  on  the  card  in  Figure  123  may  be  executed 
if  the  pupils  can  draw  the  figures.  A  drawing  in  out- 
line is  easier  and  perhaps  better. 

This  card  may  have  the  greeting  only  if  that  is 
sufficient.  Instead  of  having  two  separate  pieces  for 
the  upper  part,  let  the  pattern  overlap  the  one  already 
drawn  on  the  paper,  and  then  cut  out  the  two  in  one 
piece. 

Figure  124  is  a  modification  of  Figure  123.  Cut 
a  pattern  of  the  largest  egg  and  mark  around  it. 
Cutting  it  down  by  means  of  a  line  parallel  with  the 
edge,  use  it  to  trace  the  second  egg,  etc.  Secure  in 
the  same  manner  as  Figure  123. 

Figure  125  is  a  folder  with  a  suggestion  of  what 
may  be  done  in  designing  simple  bands  or  borders. 

The  executions  shown  in  Figures  1 26  and  1 27  are 
for  cards,  or  place  cards.  The  shading  may  be  omitted 
and  the  drawing  outlined  in  black  and  then  covered. 
In  designing  them,  avoid  having  small  parts  that 
project  out  from  the  large  parts  like  the  ears  of  the 
rabbit.  When  made  long  and  small  they  are  weak 
and  tear  off  easily. 


50  ELEMENTARY  INDUSTRIAL  WORK. 


SPECIAL-DAY  EXERCISES.  51 

Figure  128  is  intended  for  a  greeting-card,  but 
may  also  be  used  for  the  decoration  of  a  folder  or 
booklet. 

The  cover  is  not  shown  in  Figure  129,  but  it  may 
be  left  plain  and  colored,  or  it  can  be  decorated.  If 
yellow  is  used,  a  light  wash  could  be  applied,  and  as 
soon  as  the  card  is  dry  make  the  edges  a  darker 
yellow  with  an  irregular  line  dividing  the  two  yellows 
like  the  valentine  in  Figure  97.  The  message  or  greet- 
ing is  written  on  the  inside  of  the  cover,  or  on  part 
marked  "A"  in  Figure  129. 

As  was  suggested  in  the  beginning  of  this  part 
of  the  chapter,  which  treats  the  Easter  season,  many 
of  the  projects  used  for  preceding  holidays  may  be 
converted  into  simple  Easter  cards,  folios  and  booklets. 

7.   HANGING,  GIFT  AND  MAY  BASKETS. 

The  first  of  these,  shown  completed  in  Figure 
132,  may  be  used  in  various  ways.  It  is  especially 
desirable  as  a  May  or  hanging  basket.  Drawing 
paper  may  be  lised  and  colored  if  colored  baskets 
are  wanted  and  no  colored  paper  is  to  be  had. 

Cut  an  oblong  of  the  desired  size  three  times 
the  size  of  Figure  130,  which  makes  a  good-sized 
basket.  Draw  the  necessary  lines  on  the  paper  for 
folding  and  cutting,  and  proceed  with  cutting  and 
folding.  The  lines  like  BC  are  drawn  in  pencil  and 
cut  half-way,  as  shown  in  the  drawing,  by  the  solid 
lines.  Interlace  the  triangles  at  the  sides  of  the  basket, 
and  it  is  ready  for  the  handle.  The  handle  is  shown 
in  Figure  131,  and,  after  cutting  half-way  across  near 
each  end,  it  is  attached  to  the  basket,  interlacing  at 
the  small  cuts  labeled  "A." 


52 


ELEMENTARY  INDUSTRIAL  WORK. 


This  basket  may  be  made  larger  or  smaller  than 
has  been  suggested.  It  affords  a  simple  construction, 
involving  no  paste  or  sewing  of  any  kind. 

The  basket  shown  in  Figure  134  is  similarly 
constructed.  Drawing  paper,  some  paper  that  will 
take  color,  is  needed. 


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flop  130 

Draw  a  line  across  the  center  of  the  sheet.  The 
line  is  indicated  by  A  in  Figure  133.  Next  find  the 
center  at  the  end  of  the  paper  indicated  by  C  and 
make  dots.  Then  measure  down  from  the  corners 
distances  equal  to  half  the  distance  across  the  end. 


SPECIAL-DAY  EXERCISES. 


53 


These  dots  are  indicated  by  B  and  D.  Draw 
lines  BC  and  BD,  and  angle  BCD  will  be  a  right 
angle.  Then  draw  the  lines  at  the  ends  of  the  line  A, 
making  the  angles  like  DEF  right  angles.  The  circles 
for  the  center  of  the  flowers  are  next  drawn, 
making  them  as  large  as  possible  in  order  that 
they  will  be  strong  when  interlaced.     Cut  on  the 


fiq  13  3 


Fiql3S 


54 


ELEMENTARY  INDUSTRIAL  WORK. 


solid  lines  of  the  triangles,  and  also  cut  out  the  spaces 
between  the  petals.  Color  the  petals  yellow  and  the 
centers  brown.  Interlace  the  sides  of  the  basket 
and  the  ends  of  Figure  1 35  with  the  sides  of  the  basket. 


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The  baskets  in  Figures  1 36  and  1 37  are  similar 
in  construction.  The  one  in  Figure  137  is  made  up 
of  nine  squares  and  has  a  handle  in  addition.  Draw 
diagonals  on  the  corner  squares,  and  draw  in  a  half 
of  a  butterfly  in  each  half  of  the  square  as  has  been 
done  in  the  figure.  The  dotted  lines  are  folded  and 
cut  on  the  sides  of  the  corner  squares  so  that  they 
will  interlace  in  order  to  put  the  basket  together. 


SPECIAL-DAY  EXERCISES.  55 

The  ends  of  the  handle  interlace,  forming  a  handle 
with  a  butterfly  at  the  top.  Also  the  interlacing  makes 
a  butterfly  at  each  corner  of  the  basket.  The  butter- 
flies may  be  colored  in  water-colors  or  crayon.  A 
good  effect  may  be  obtained  by  dotting  the  wings 
with  black  after  coloring.  The  basket  in  Figure  136 
is  the  same,  except  that  the  square  in  the  center 
determining  the  size  of  the  basket  is  much  larger 
than  the  ones  at  the  corners. 


56  ELEMENTARY  INDUSTRIAL  WORK. 

IV. 

MISCELLANEOUS  PAPER  SLOYD. 

Special  occasions  always  arise  that  demand  cer- 
tain projects  in  paper  and  cardboard  that  are  not 
mentioned  in  the  other  chapters  of  this  book,  and 
usually  we  have  some  children  who  can  carry  out  their 
projects  more  quickly  than  can  their  classmates.  This 
affords  material  for  extra  problems. 

Paste  is  usually  purchased  in  large  quantities, 
but  sometimes  it  becomes  necessary  for  us  to  make 
our  own  supply.  A  good  paste  is  made  by  taking 
one  cup  of  flour  and  one  teaspoonful  of  dissolved 
alum.  Mix  the  flour  with  a  little  cold  water,  being 
sure  to  get  out  all  of  the  lumps.  Add  four  cups  of 
hot  water  and  boil  for  three  minutes,  stirring  con- 
stantly. Add  a  little  essence  of  peppermint  when 
done.    This  gives  a  flavor  and  prevents  souring  quickly. 

Figure  138  shows  a  6"  square  folded  on  the  line 
AB,  drawn  §"  from  the  top.  Dots  are  made  on  this 
and  on  the  folded  edge  at  intervals  of  J",  and  lines 
drawn  connecting  the  dots  that  are  opposite  each 
other.  Cut  on  the  lines,  taking  care  that  you  stop 
just  as  you  get  to  the  line  AB. 

To  make  a  lantern  of  this,  unfold  and  paste  the 
sides  together,  overlapping  each  other  J".  A  dark 
strip  of  paper  JB  wide  pasted  around  the  top,  and  one 
around  the  bottom,  improve  the  appearance.  Paste 
a  narrow  strip  of  paper  to  one  end  for  hanging  (the 
same  as  the  strip  used  for  a  handle  in  Figure  146). 


MISCELLANEOUS  PAPER  SLOYD. 


57 


Figure  139  is  a  sled.  To  find  the  width  of  the 
paper,  add  to  the  width  of  the  sled  twice  its  height. 
After  the  paper  is  cut  to  size  draw  a  pencil  line  in  the 
center,  represented  by  the  light  solid  line.  Set  the 
compass  on  this  line  in-  drawing  the  semi-circum- 
ferences. The  drawing  shows  the  remainder  of  the 
construction  in  such  a  way  that  it  is  not  necessary 
to  describe  it  farther. 


frg'JQ 


^ 


<^ 


Rq  /39 


> 

\    /'  ( 


RgJ4J 

Figure  140  (the  canoe)  is  of  a  suitable  size  if 
made  from  a  piece  of  paper  3"x5".  Construct  by 
folding  in  the  center  lengthwise.  Then  draw  pencil 
lines,  represented  by  light  solid  lines  in  the  figure, 
in  the  center  of  each  half.  Using  these  lines  as  centers, 
draw  the  four  circles  necessary.  Draw  heavy  lines 
from  circle  to   circle,  then  cut  on  all  of  the  heavy 


58  ELEMENTARY  INDUSTRIAL  WORK. 

solid  lines.  Fold  on  the  dotted  line  in  center  and 
sew  ends  together  as  shown  in  Figure  141.  Raffia 
or  cord  may  be  used  in  sewing.  Streak  the  sides  of 
the  canoe  with  crayon  so  as  to  make  it  resemble 
birch-bark. 

Figure  1 42  is  an  Easter  basket.  Cut  a  square  of 
the  desired  size,  using  the  actual  measurements  in 
Figure  142  as  a  unit,  and  enlarge  as  many  times  as 
you  choose.  For  all  of  the  dimensions  enlarge  in  a 
like  manner. 

Draw  lines  across  the  centers  each  way.  With 
the  point  of  crossing  as  a  center,  draw  the  large  circle. 
Then  taking  the  four  points  where  the  large  cuts  circle 
the  diameters  as  centers,  draw  the  four  small  circles 
that  are  drawn  in  heavy  solid  lines,  meaning  that 
they  are  to  be  cut  out.  Be  sure  that  the  radius  of 
the  small  circle  is  just  the  distance  from  the  center 
to  the  edge  of  the  piece  of  paper.  Next,  with  the 
eight  points  where  the  small  circles  cut  the  large  one 
as  centers,  draw  circles  using  the  same  radius.  Cut 
out  the  four  small  circles  first  drawn,  the  parts  of  each 
of  the  small  circles  shown  in  heavy  solid  lines,  and  the 
parts  of  the  large  circle  joining  the  small  circles. 
Draw  the  square,  represented  by  the  dotted  lines  in 
the  figure.  Tie  the  basket  at  the  corners,  add  a  handle 
by  pasting  on  the  inside,  and  the  basket  is  complete. 

Figure  143  shows  a  tray  constructed  from  a  square. 
Cut  on  the  solid  lines,  fold  on  the  dotted  lines,  punch 
holes,  tie  at  the  corners,  and  the  tray  is  finished.  A 
simple  design  may  be  painted  on  the  sides  if  desired. 
Figure  146  is  a  sketch  of  the  finished  pail  constructed 
from  Figures  144-145.  The  circular  piece  is  cut 
first,   and   then,   estimating   the   circumference  from 


MISCELLANEOUS  PAPER  SLOYD. 


59 


this,  we  plan  Figure  144.  The  distance  from  the  line 
A  to  the  dotted  line  is  the  circumference.  The  dis- 
tance from  the  dotted  line  to  the  other  edge  is  £", 
which  is  allowed  for  lapping  in  pasting.  The  small 
oblongs  at  the  lower  side  are  bent  on  the  dotted  lines 
before  pasting.  After  pasting  the  sides  paste  one  of 
the  circular  pieces  inside  the  pail  and  one  on  the  bot- 
tom outside.  These  were  the  circles,  one  of  which  is 
represented  in  Figure  145.  Paste  a  strip  on  the 
inside  for  the  handle. 


^ )£k 


'"XJ LT 


f<ql44 


<§> 


Fiq  14-3 


60  ELEMENTARY  INDUSTRIAL  WORK. 

This  problem  may  be  varied,  and  executed  as  a 
tub,  or  as  a  watering-can  by  the  addition  of  a  spout. 

Figure  147  gives  the  construction  for  a  hexagonal 
tray  from  a  circular  piece  of  paper  or  cardboard. 


Fig  149 


F\q\5Z 


Fig  150 


Fiq  li"l 


MISCELLANEO  US  PAPER  SLO  YD.  61 

Fold  on  the  dotted  lines,  cut  on  the  solid  ones,  and 
then  paste  the  flaps  to  the  inside  of  the  sides,  which 
completes  the  tray. 

Figure  148  is  the  construction  for  a  wall  pocket, 
which  should  be  enlarged  at  least  six  times  in  order 
that  it  may  be  of  service.  After  cutting  the  paper, 
draw  the  lines  for  both  cutting  and  folding  before 
you  attempt  either.  Paste  the  flaps  on  the  inside 
of  the  pocket. 

Figure  149  may  be  used  for  either  a  cornucopia 
or  scissors  case. 

For  a  cornucopia  make  it  much  larger;  6"  square 
is  a  good  size.  Points  A  and  B  are  the  centers  of  the 
sides.  Fold  on  the  dotted  lines,  and  paste  where 
they  overlap.    Punch  a  hole  for  hanging  at  C. 

The  scissors  case  is  made  in  the  same  way,  except 
that  the  hole  at  C  is  omitted,  and  a  line  drawn  from 
A  to  B,  on  which  the  corner  is  folded. 

Figure  1 50  is  merely  the  construction  for  the  box. 
It  is  given,  because,  frequently,  there  is  a  demand 
for  seed  boxes  in  connection  with  the  work  in  school- 
gardening,  etc.  A  handle  may  be  added,  converting 
it  into  a  basket. 

Figure  151  is  a  simple  picture  frame.  Fold  on 
the  dotted  line  and  cut  on  the  solid  ones.  The  central 
oblong  in  the  upper  half  will  fall  out,  and  the  picture 
is  mounted  back  of  it.  Fold  up  the  lower  oblong  and 
paste  the  flaps.  If  it  is  not  to  be  hung  up,  use  the 
device  in  Figure  25  to  make  it  stand  up. 

Figure  152  is  a  pencil  tray  constructed  just  like 
a  box.  Use  a  piece  of  material  3  J"  wide  and  10"  long, 
making  the  sides  f  "  high. 


62  ELEMENTARY  INDUSTRIAL  WORK. 


...L 

% 

::::_::::::cn 

F,q  U4- 


FlQ  IS* 


'5 


MISCELLANEOUS  PAPER  SLOYD.  63 

Figure  153  is  a  working  drawing  for  a  triangular 
box  with  cover.  It  may  be  used  for  a  gift,  candy  or 
trinket  box. 

Dimensions  are  given  with  the  construction,  so 
no  further  explanation  is  necessary.  This  is  a  good 
model  for  the  boy  who  always  gets  thru  with  his 
work  in  advance  of  his  classmates. 

Figure  154  gives  the  construction  for  a  letter 
rack.  Use  a  piece  of  material  6"xl3".  The  lines  on 
each  side  are  §"  apart.  The  distance  from  the  lower 
edge  to  the  dotted  line  is  4 J",  and  from  there  to  the 
next  dotted  line  £",  which  is  the  same  as  the  space 
between  the  lines  on  the  sides. 

Figures  155  and  156  give  the  parts  for  a  whisk- 
broom  holder.  A  good-size  holder  is  made  by  cutting 
material  twice  the  size  of  the  figures.  Figure  156  is 
cut  and  folded,  and  then  pasted  on  Figure  155  with 
the  flap  on  the  back.  The  upper  edge  comes  at  AB, 
which  causes  the  lower  edge  to  fall  on  CD.  AB  and 
CD  are  pencil  and  not  cut  lines. 

Figure  159  is  a  sketch  of  a  completed  Dutch 
windmill.  Figure  157  is  cut,  folded  and  pasted  as 
indicated.  The  windows  are  to  be  turned  back 
slightly,  so  as  to  assume  an  open  position.  One 
of  them  may  be  cut  lower  down  and  made  slightly 
larger,  so  as  to  serve  the  purpose  of  a  door.  Figure 
1 57  has  a  light  solid  line  showing  how  it  was  drawn. 
Use  the  heavy  solid  line  for  cutting.  Attach  by  means 
of  a  pin. 

Figure  160  is  a  pocketbook  to  be  constructed 
from  leatherette  lined  with  construction  paper.  The 
parts  at  the  ends  of  the  oblong  A  are  folded  in  and  then 


64 


ELEMENTARY  INDUSTRIAL  WORK. 


pasted  to  the  oblong  to  the  right,  when  A  is  folded  over. 
Repeat  the  operation  on  oblong  B.  A  good  finished 
size  is  2§"x3|". 


Figure  161  is  a  cardcase  and  constructed  in  a 
manner  similar  to  Figure  160.  A  good  size  for  this 
case  is  3"x4£". 

Figure  162  is  a  billbook  and  pocketbook  com- 
bined. A  slit  is  cut  in  the  outside,  into  which  the  end 
of  the  flap  is  put. 

Many  other  constructions  from  paper  and  card- 
board could  be  given,  but,  with  those  given  in  this 
and  preceding  chapters,  one  is  afforded  sufficient 
material  for  a  working  basis,  and  should  be  able  to 
work  out  any  problem  on  this  order  that  is  applicable 
to  schoolroom  use. 


MISCELLANEOUS  PAPER  SLOYD. 


65 


Election  time  suggests  horns,  band-wagons,  pen- 
nants, arches,  grand-stands,  etc. 


:---■!---• 

a    I             :  * 

MM 

F^/6| 


fig  J  62 


Vacation  suggests  canoes,  sailboats,  tents,  trolleys, 
railway  cars,  parks,  etc. 

Hiawatha  suggests  bows,  arrows,  quiver,  tent, 
cradle,  beads,  belts,  moccasins,  etc. 

Transportation  suggests  carts,  wagons,  railway 
cars,  ferryboats,  freighters,  etc. 


66  ELEMENTARY  INDUSTRIAL  WORK. 

V. 
CORD  AND  STRING  WORK. 

A  boy  is  always  made  happy  when  he  becomes 
the  proud  possessor  of  a  piece  of  cord  or  string.  He 
puts  it  to  many  and  various  uses.  There  is  some 
fascination  about  it  which  causes  it  to  remain  very 
dear  to  him. 

If  the  children  have  been  happy  to  own  cord  and 
bits  of  string  which  they  used  in  making  various 
things  without  guidance  or  instruction,  how  much 
happier  they  are  when  these  become  part  of  their 
schoolwork. 

They  should  be  taught  the  value  of  making 
things  correctly  and  to  see  the  advantage  of  knots 
properly  tied  over  the  ones  that  will  not  hold.  The 
eye  is  trained  along  with  the  hand.  It  also  teaches 
spacing  and  measurement. 

The  children  will  also  be  interested  in  knowing 
that  knots  were  used  as  a  safeguard  against  intruders 
before  locks  and  padlocks  were  invented.  The  ancients 
have  used  them  as  a  language  thru  which  to  send 
messages,  and  Japan  at  the  present  time  is  said  to 
have  a  code  of  etiquette  practiced  thru  knots,  thus 
conveying  messages  of  congratulation  and  sympathy. 

The  cheapness  of  the  material  is  also  favorable 
to  its  introduction.  The  children  can  bring  cord  and 
twine  from  their  various  homes  if  necessary.  These 
may  be  used  as  they  are  brought,  or,  better,  dye 
them,  thus  giving  variety  and  doing  away  with  the 


CORD  AND  STRING  WORK.  67 

dingy,  dirty  appearance  that  has  resulted  from  the 
uses  to  which  the  cords  previously  have  been  put. 

Of  the  commercial  materials  Macrame  cord  is 
probably  the  most  desirable,  since  it  can  be  had  in 
so  many  shades  and  colors.  Seine  cord  is  more  economi- 
cal, since  it  comes  in  the  white  and  can  be  dyed  readily. 
If  doubtful  about  the  size  in  ordering,  have  samples 
sent  of  the  different  sizes,  and  order  from  the  samples. 
Cords  numbered  from  1 2  to  16  are  of  the  correct  size, 
with  No.  4  used  for  binding. 

Some  device  for  holding  the  end  of  the  cord 
while  the  children  are  knotting  or  chain-stitching  is 
necessary.  A  good  one  is  made  by  fastening  brass 
cup-hooks  on  the  walls,  and  then  the  cords  may  be 
hooked  over  these  while  working. 

1.    WATCHCHAINS. 

These  problems  are  intended  to  teach  knotting; 
and  the  chain-stitch,  which  is  very  similar  to  crocheting, 
except  that  the  fingers  are  used  instead  of  a  hook,  wjll 
be  taken  up  first. 

The  over-hand  knot  is  very  simple,  and  is  illus- 
trated in  Figure  163.  Begin  by  making  a  circle  with 
the  cord  and  drawing  the  end  thru.  If  a  long  string 
is  being  knotted,  it  is  best  to  double  the  cord  so  as 
to  find  the  center,  and  knot  toward  each  end.  This 
makes  a  shorter  end  to  pass  thru  the  loop,  saving 
time  and  being  less  cumbersome.  The  knotted  cord 
will  resemble  Figure  164. 

An  over-hand  knot  using  two  cords  is  knotted  in 
the  same  manner  as  Figure  163,  where  only  one  cord 
is  used.    Two  colors  are  represented  in  the  knotting 


68 


ELEMENTARY  INDUSTRIAL  WORK. 


executed  in  Figure  165.  If  only  one  color  is  used,  a 
loop  can  be  left  at  one  end,  affording  ready  means  of 
attaching  the  chain  to  a  watch  or  something  else  on 
which  it  is  to  be  used. 


<S  F,S 


The  beginning  of  the  chain-stitch  is  shown  in 
Figure  166.  A  circle  is  made  at  one  end  of  the  cord 
in  the  same  manner  as  the  one  for  the  over-hand 
knot;  but,  instead  of  passing  the  end  thru,  the  cord 
is  doubled  into  a  loop  and  the  loop  passed  thru.    This 


CORD  AND  STRING  WORK. 


69 


loop  is  at  A  in  the  figure.  To  continue,  loop  the  end, 
again  passing  it  thru  loop  A,  etc.,  as  shown  in  Figure 
167.  When  the  chain  is  long  enough,  it  is  made 
secure  by  passing  the  end  thru  the  last  loop  and 
drawing  it  tight. 

Figure  168  shows  a  chain-stitch  of  two  cords 
using  two  colors.  First  one  string  is  pulled  thru  for 
the  new  loop,  and  then  the  other.  It  can  be  seen 
from  Figure  168  that  this  forms  a  three-sided  cord. 

2.    GUARD  FOR  SCISSORS. 


Several  yards  of  cord  are  used  for  this  guard. 
Leave  about  5"  of  the  end  when  you  begin  chaining, 
and  stop  when  you  get  to  within  5"  of  the  other  end. 
This  is  to  be  double,  and  the  5"  ends  are  fastened 
together  as  shown  in  Figure  169. 

A  in  the  figure  has  a  blanket-stitch  on  either 
side,  covering  the  two  cords,  beginning  where  the 
chaining  stops.  This  covering  is  shown  in  detail  in 
Figure  170.     If  any  difficulty  is  experienced  with  the 


70  ELEMENTARY  INDUSTRIAL  WORK. 

blanket-stitch,  refer  to  the  chapter  on  Burlap,  where 
it  is  given  in  detail  (Figure  1 80).  Cover  in  this  manner 
for  |",  then  cut  the  ends  to  the  desired  length  and  shape 
as  indicated  at  B,  and  sew  together  before  covering 
with  a  single  blanket-stitch  as  represented.  The  end 
is  secured  by  drawing  it  under  the  stitches  and  cutting 
off  closely.  The  scissors  are  then  looped  to  this. 
It  is  assumed  that  this  looping  will  be  understood; 
if  not,  it  can  be  learned  from  the  making  of  the  bag 
farther  over  in  this  chapter. 

This  exercise  may  be  elaborated  upon  by  chaining 
reins  such  as  the  children  use  in  playing  with  each 
other. 

3.  SQUARE  KNOT. 

Some  knot  that  will  not  slip  is  necessary  with 
cordwork.  The  square  knot,  also  called  the  "hard 
knot,"  is  in  common  use  (Figure  171). 

An  end  of  the  cord  is  taken  between  the  thumb 
and  forefinger  of  each  hand,  and  crossed  and  passed 
thru  at  A.  Change  ends  of  the  cords,  cross  and  pass 
thru  as  at  B.  Drawing  the  ends  tight,  the  knot  be- 
comes secure  and  will  remain  so. 

4.  A  PORTIERE. 

This  is  intended  for  a  portiere  to  be  used  in  fur- 
nishing the  doll-house,  but  can  be  made  large  enough 
for  use  in  the  home  if  very  heavy  cord  is  used. 

The  cords  are  placed  over  a  pole  or  rod  of  some 
kind,  as  shown  in  Figure  172,  to  keep  them  even 
while   weaving.     The   over-hand   knot   (Figure    163) 


CORD  AND  STRING  WORK. 

r,  ;  i;  r.  r.  c  t=c=o 


71 


Fig  1*2 


is  used  for  this.  Begin  by  knotting  across  just  as 
they  are  hanging  on  the  rod.  The  second  time  across 
omit  the  first  cord,  and  knot  the  second  cord  to  the 
first  cord  of  the  second  knot,  and  cross,  knotting  in 
that  manner.  On  the  third  time  across  the  same  cords 
will  be  knotted  that  were  knotted  the  first  time  across. 
When  the  portiere  is  long  enough,  cut  the  ends  to 
an  even  length.  These  ends  may  be  frayed  out  to 
form  tassels,  or  two  or  three  over-hand  knots  can  be 
made  in  each  cord  of  the  knot. 


5.     A  SMALL  BAG. 


The  over-hand  knot  is  again  used  in  the  bag,  of 
which  a  part  is  shown  in  Figure  173.  Instead  of  a 
pole  around  which  the  cords  are  hung,  use  two  cords, 


72  ELEMENTARY  INDUSTRIAL  WORK. 

so  that  they  will  form  drawstrings.  To  do  this,  each 
is  doubled  in  the  center,  and  one  is  placed  with  the 
ends  to  the  right,  and  the  other  with  the  ends  to  the 
left,  and  the  ends  knotted.  That  makes  two  cords, 
over  which  the  cords  for  the  sides  are  hung  as  shown 
in  Figure  173.  Proceed  the  same  as  in  Figure  172, 
except  that  you  knot  all  of  the  way  around  instead 
of  just  across.  When  the  bag  is  of  the  desired  depth 
the  bottom  is  formed  by  knotting  the  cords  from  the 
opposite  sides  together. 

6.     THE  DOUBLE  SAILOR'S  KNOT. 

The  double  sailor's  knot  makes  a  more  effective 
bag,  but  is  more  difficult  until  the  construction  is 
memorized.  A  careful  study  of  Figures  174  and  175 
will  teach  you  this  knot  in  a  few  minutes.  It  is  then 
used  for  a  bag  similar  to  the  one  in  Figure  173,  except 
that  braids  are  made  of  No.  4  cord,  to  be  used  as 
drawstrings. 

7.     WHIPS. 

Several  styles  of  whips  are  possible. 

Take  a  piece  of  cord  slightly  longer  than  twice 
the  length  of  both  handle  and  lash.  Finding  the 
center,  tie  another  cord  of  the  same  length  around  it 
at  the  place  it  is  doubled,  using  the  first  step  (A)  in 
Figure  171,  and  then  with  these  two  ends  double 
blanket-stitch  around  the  cord,  which  has  been  doubled 
as  first  shown  in  Figure  1 70,  until  you  have  covered  the 
foundation  to  a  length  long  enough  for  the  handle. 
Then  tie  two  hard  knots,  using  a  foundation  cord  and 
one  of  the  blanket-stitch  cords  for  each  knot. 


CORD  AND  STRING  WORK. 


73 


Fig  1 76 


The  lash  is  then  formed  by  cutting  off  the  ends 
of  the  blanket-stitch  cords  close  to  the  knot,  and  knot- 
ting the  other  two  cords  at  intervals  completes  the  whip. 

To  make  a  stronger  whip,  use  a  heavy  reed  for 
the  foundation  (a  twig  or  stick  may  be  substituted  for 
the  reed).  Cut  niches  at  the  end,  to  which  three 
cords  are  secured  by  wrapping  with  fine  cord.  One  of 
these  cords  must  be  quite  long,  with  the  long  end 


14:  ELEMENTARY  INDUSTRIAL  WORK. 

extending  downward  in  the  direction  of  the  handle. 
After  the  fine  cord  has  been  secured  begin  blanket- 
stitching  and  covering  the  handle  as  shown  in  Figure 
176.  The  appearance  of  the  corkscrew  is  obtained 
by  slipping  the  position  of  the  loop  around  each  time, 
making  a  revolution  for  each  fifteen  loops.  The  cord 
is  fastened  to  the  end  of  the  handle  by  driving  in  a 
tack  or  brad.  Finish  the  lashes  by  knotting  each  of 
them  at  intervals. 

9.    A  HAMMOCK. 

Two  embroidery  rings  1"  in  diameter,  six  pieces 
of  heavy  cord  1  \  yards  in  length,  and  two  pieces  of 
fine  cord  are  necessary.  Loop  the  heavy  cords  in  the 
center  to  one  of  the  rings,  using  the  loop  shown  in 
Figure  177.  Two  inches  down  from  the  ring  begin 
knotting  the  same  as  was  done  the  second  time  across 
in  the  portiere — i.  e.,  omitting  the  first  cord,  and 
knotting  by  twos,  leaving  one  on  each  side  that  is 
not  knotted.  Then  knot  across  the  second  time, 
beginning  with  the  outside  cord,  forming  meshes 
|"  in  length.  Judgment  must  be  exercised  in  deter- 
mining how  far  towards  the  other  end  one  shall  knot. 
The  other  ring  is  attached  by  knotting  the  ends  of 
the  cord  to  it  after  the  last  knots  have  been  tied. 
Use  a  slipknot  for  this.  It  is  made  by  passing  the  end 
thru  the  ring  and  tying  an  over-hand  knot  over  the 
cord  with  this  end.  It  is  now  apparent  that  the  second 
end  of  the  hammock  should  be  like  the  end  first  knotted, 
in  that  the  last  row  of  knots  is  to  be  2"  from  the  ring, 
and  that  the  outside  cords  at  the  last  row  of  knots  are 
not  knotted. 


GORD  AND  STRING  WORK.  75 

The  small  cords  are  for  binding  the  ends.  Bind 
by  placing  one  end  thru  the  ring  for  about  1",  and, 
holding  this  ring  in  the  left  hand,  continue  with  the 
cord  along  on  the  hammock  for  1",  and  then  return 
to  the  ring,  thus  forming  a  loop  1"  in  length.  Now 
begin  wrapping  or  winding  around  the  hammock  and 
this  loop  as  close  to  the  ring  as  possible.  After  wrap- 
ping for  J"  slip  the  end  of  the  cord  thru  the  loop 
which  projects  beyond  the  wrapping.  By  pulling  on 
the  end  that  is  hanging  thru  the  ring  the  second  end 
is  drawn  under  the  winding.  Cut  the  ends  off  close 
to  the  binding  and  after  repeating  this  on  the  other 
end  the  hammock  is  complete. 

Other  problems  will  suggest  themselves,  and  can 
be  readily  worked  out.  A  practical  example  of  this 
is  the  making  of  the  small  nets  that  are  used  on  basket- 
ball goals. 


76  ELEMENTARY  INDUSTRIAL  WORK. 

VI. 

BURLAP  WORK. 

Burlap  is  an  inexpensive  material  and  easily 
provided,  being  what  is  ordinarily  termed  "bagging" 
or  "sacking."  It  is  manufactured  from  jute,  which 
is  described  in  the  chapter  on  weaving.  Burlap  takes 
dye  or  color  readily.  The  dye  does  not  run,  so  that  it 
is  possible  to  put  on  decorations  after  a  piece  of  work 
is  completed,  tho  that  is  not  desirable  in  cross-stitch 
work;  i.  c,  the  decoration  with  dye  in  conjunction  with 
the  cross-stitching. 

This  sewing  is  coarse  enough  to  prevent  the  chil- 
dren from  strain  or  injury  to  their  eyes,  and  the 
stitches  that  are  learned  and  practiced  here  will  be 
a  great  aid  later  when  the  pupil  takes  up  fine  sewing. 
Raffia  and  jute  cord  are  the  most  inexpensive  materials 
for  cross-stitch  decoration  and  are  quite  satisfactory. 
Poseidon  cotton  and  Germantown  wool,  since  they  are 
materials  of  a  better  quality,  make  the  work  look 
slightly  more  effective. 

Design  and  color  are  afforded  most  opportunities 
here.  A  pattern  is  suggested  for  each  piece.  But  in 
class  try  to  have  each  pupil  get  a  different  pattern. 
The  mat-weaving  is  used  to  advantage  in  planning 
patterns  for  the  decoration. 

1.    A  MAT. 

The  first  problem  will  be  the  making  of  a  mat  in 
which  the  natural  burlap  is  used.    This  may  be  either 


BURLAP  WORK. 


77 


square  or  oblong  (Figure  179),  with  a  fringe  on  each 
of  the  four  sides.  To  form  the  fringe  pull  out  several 
of  the  threads  on  each  side.  Then,  if  the  piece  is  an 
oblong,  place  your  design  beside  it,  and  pull  out 
threads  of  the  burlap  and  sew  in  colored  jute  threads 
to  take  the  place  of  the  ones  that  have  been  pulled 
out.  In  case  of  a  square  the  same  plan  may  be  exe- 
cuted, which  means  colored  threads  are  introduced 
parallel  with  each  of  the  four  sides. 


F„l&» 


2.    A  NAPKIN  RING. 


Cross-ruled  paper  is  used  in  designing  the  pattern 
for  the  napkin  ring.  If  no  cross-ruled  paper  is  at 
hand,  a  valuable  ruling  practice  is  afforded  by  having 
each  pupil  rule  his  own. 

Cut  a  strip  of  burlap  If"  wide  and  9"  in  length. 
One  end  is  cut  to  a  point  as  shown  in  Figure  181,  and 
the  other  end  is  left  square. 


78  ELEMENTARY  INDUSTRIAL  WORK. 

Something  must  first  be  done' to  prevent  the  edges 
from  fraying  out.  Use  a  blanket-stitch  (Figure  180), 
but  do  not  sew  in  too  far  from  the  edge.  Sew  on  all 
four  edges  of  the  strip. 

The  edges  having  been  made  firm,  lap  the  pointed 
end  over  square  one  for  3",  and  sew  in  place,  using  a 
simple  cross-stitch  (Figure  181)  all  the  way  around 
the  napkin  ring.  The  cross-stitching  can  be  done 
before  the  ring  is  sewed  together,  and  it  is  sometimes 
advisable  to  proceed  in  that  way  with  very  young 
children,  as  the  manipulation  is  slightly  easier,  tho 
it  takes  longer,  since  the  strip  of  burlap  is  longer 
than  the  circumference  of  the  ring. 


3.     A  SHAVING-PAD. 

In  designing  the  pattern,  make  it  up  on  the 
order  of  a  border  on  three  sides.  Cut  a  piece  of  burlap 
twice  the  length  of  the  pad.  The  paper  is  cut  slightly 
smaller  than  the  burlap,  so  that  the  burlap  will  pro- 
ject over  slightly  at  the  sides  and  ends.  The  piece 
is  doubled,  so  that  it  is  just  the  size  of  the  pad,  and 
you  have  a  double  thickness  of  material.  Blanket- 
:stitch  on  three  edges  of  this  as  shown  in  Figure  182. 
Sew  thru  both  thicknesses,  so  that  they  become  one. 

After  the  blanket-stitching  has  been  executed, 
begin  applying  the  decoration,  sewing  thru  the  two 
thicknesses  with  the  cross-stitch  thread.  Four  holes 
are  punched  at  the  top  for  fastening  the  cover  to  the 
sheets  of  paper  by  means  of  brass  fasteners  or  cord. 
Cord  is  most  appropriate.     If  the  jute  is  not  to  your 


BURLAP  WORK. 


79 


liking,  untwist  several  strands  and  make  a  cord  of 
several  colors  by  twisting  together  strands  of  different 
colors  of  jute. 


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4.    A  HOLDER. 


The  working  drawing  in  this  case  will  be  5" 
square.  Cut  a  piece  of  burlap  15"  long  and  5"  wide, 
since  the  holder  is  to  be  made  up  of  three  thicknesses 
of  material.  The  pattern  may  first  be  stitched  on  a 
5"  square  at  one  end  of  the  strip  (Figure  183),  then 
the  piece  folded  evenly  and  blanket-stitched  on  four 
sides. 

The  holder  is  now  finished.  If  desired,  a  hanger 
may  be  attached  at  one  corner. 


80  ELEMENTARY  INDUSTRIAL  WORK. 


FieiaJ" 


Pig  186 
A  NEEDLEBOOK. 


The  needlebook  makes  a  very  attractive  project, 
and  especially  so  at  a  time  when  making  gifts.  (See 
Figure  187.) 

The  pattern  here  again  is  made  the  size  of  the  com- 
pleted case,  25/8nx4|"  being  a  good  size.  Cut  a  piece 
of  burlap  double  the  size  of  the  pattern  opening  on 
either  side  of  the  end,  as  the  drawing  may  call  for. 

Work  the  decoration  on  the  front  cover.  Blanket- 
stitch  on  the  four  sides  of  the  burlap,  then  it  is  ready 
for  folding. 

For  leaves,  cut  two  pieces  of  chamois  slightly 
smaller  than  the  burlap.  These  are  sewed  in  or  may 
be  secured  with  a  cord  that  shows  on  the  outside  of 
the  book  (Figure  187). 

6.  A  CARDCASE. 

The  pattern  for  the  cardcase  is  precisely  the 
same  as  that  for  the  needlebook  (Figure  187).  Cut 
a  piece  of  burlap  4J"x5",  and  two  pieces  2J"x1Jn. 
The  finished  size  of  the  cardcase  will  be  2J"x4Jn. 


BURLAP  WORK. 


81 


r»g  \8e> 


fiq/87 


82  ELEMENTARY  INDUSTRIAL  WORK. 

The  small  pieces  are  to  be  used  for  the  pockets. 
Cut  one  side  of  each  of  these  as  shown  at  A  in  Figure  1 88. 
Next  sew  the  decoration  on  the  cover.  Then  place  the 
small  pieces  for  pockets  in  position  on  the  large  piece 
as  shown  in  the  same  figure,  and  pin  so  as  to  keep 
them  in  place  while  sewing. 

An  over-casting  stitch  (Figure  186)  may  be  used 
for  sewing  around  the  sides. 

7.     A  BAG  FOR  BOOKS. 

The  piece  of  material  for  this  is  cut  large  enough 
to  allow  for  seams  at  the  ends  and  a  hem  on  both 
sides  at  the  top  (Figure  189). 

Turn  the  parts  for  the  hem,  and  secure  in  such  a 
way  that  the  threads  will  not  show  on  the  outside. 
The  running-stitch  (Figure  184)  may  be  used.  Then 
fold  in  the  center  lengthwise,  with  the  inside  out. 
Sew  the  ends  together  firmly  using  the  back-stitch 
shown  in  Figure  185.  Turning  bag,  add  the  decorations, 
and  it  is  ready  for  handles.  These  may  be  made  of 
strips  of  burlap  folded  with  the  sides  overlapping  each 
other.  Sew  them  to  the  bag  on  the  inside.  Another 
method  of  sewing  the  ends  is  to  leave  the  bag  right 
side  out,  and  use  the  over-casting  or  blanket-stitch. 

Handles  may  be  braided  of  raffia  and  sewed  on 
in  the  same  manner  as  the  burlap  handles. 

8.     A  PINCUSHION. 

A  pincushion  may  be  made  in  two  ways: 
Cut  two  squares  of  material,  decorate  one,  and 
blanket-stitch  on  three  sides,  stitching  the  two  parts 


BURLAP  WORK.  83 

for  the  cushion  together.  The  small  bag,  filled  with 
wadding  or  some  other  filling,  is  now  placed  inside, 
and  stitching  on  the  fourth  edge  completes  the  pillow. 

Both  sides  can  be  cut  in  one  piece.  The  decora- 
tion is  next  sewed  on,  and  the  piece  accurately  folded 
with  the  decoration  to  the  inside. 

Two  of  the  open  sides  are  sewed,  using  the  neces- 
sary stitching.  The  cover  is  then  turned  with  the 
decoration  to  the  outside,  the  pillow  inserted,  and  the 
fourth  side  sewed  in  a  manner  to  make  it  resemble 
the  sewing  on  the  other  two  sides. 

9.     SOFA  PILLOWS. 

It  is  not  necessary  to  go  into  detail  as  to  the  making 
of  the  pillow  itself.  .Excelsior  makes  a  fairly-good 
filling.    Tree  moss  is  excellent  and  also  inexpensive. 

The  decoration  differs  from  that  of  the  other 
articles  in  this  chapter.  A  cross-stitch  pattern  is  not 
appropriate  for  a  sofa  pillow,  since  it  would  not  en- 
dure the  use  to  which  a  sofa  pillow  is  put.  So,  in 
designing  the  decoration,  something  is  to  be  planned 
which  can  be  executed  in  color  with  a  cord  couched 
around  the  outer  edges  of  the  spots  which  make  up 
the  pattern. 

After  the  plan  for  the  pattern  has  been  designed 
cut  a  piece  of  paper  just  one-quarter  the  size  of  the 
pillow-top.  On  this  draw  one-quarter  of  the  pattern 
and  cut  on  the  lines  that  have  been  drawn.  This 
gives  us  a  kind  of  stencil.  Placing  it  on  the  pillow-top 
and  in  one  corner,  draw  lines  with  a  lead  pencil  that 
will  show  where  the  dye  is  to  be  used.     After  dyeing 


84  ELEMENTARY  INDUSTRIAL  WORK. 


the  couching  is  next  in  order.  Referring  to  Figure 
190  you  will  readily  see  that  these  spots  are  so  large 
that  something  is  needed  to  bind  them.  A  heavy 
cord  is  couched  around  the  edges  of  the  color.  The 
couching  is  represented  in  Figure  191. 


WEAVING.  85 

VII. 

WEAVING. 

Both  weaving  and  basketry  are  very  primitive 
arts.  Comparatively  speaking,  it  has  been  only  a 
few  years /since  weaving  has  been  modernized.  Steam 
and  electricity  are  now  used  to  aid  in  the  process,  and 
the  old  primitive  looms  have  been  replaced  by  modern 
ones. 

The  most  primitive  loom  consisted  of  two  sticks 
between  which  the  warp  threads  were  strung,  and 
then  the  woof  passed  over  and  under  by  means  of 
the  fingers.  One  of  these  sticks  was  fastened  to  a 
branch,  or  something  that  permitted  the  other  stick 
to  hang  down  without  quite  touching  the  ground. 
Some  tribes  are  said  to  have  secured  the  warp  to  a 
loom  constructed  by  driving  four  sticks  into  the  ground 
and  then  excavating  so  that  the  weaver  could  sit  with 
feet  and  limbs  under  the  threads  while  weaving. 

The  first  addition  to  the  primitive  loom  was  that 
of  the  shuttle,  being  nothing  more  than  a  stick  to 
which  the  woof  was  fastened  and  passed  across  the 
warp  threads. 

Next  we  find  a  loom  made  of  four  sticks  tied 
together  at  the  corners.  This  kept  the  warp  drawn 
tight  and  made  the  weaving  easier.  Then  came  the 
heddle,  which  helps  to  raise  and  lower  the  warp 
thread  in  crossing,  and  also  keeps  the  warp  from 
drawing  together,  causing  the  rug  to  be  narrower 
in  the  center  than  it  is  on  the  ends. 


86  ELEMENTARY  INDUSTRIAL  WORK. 

The  terms  "warp"  and  "woof"  used  in  the  pre- 
ceding paragraphs  must  be  understood  in  order  to 
learn  how  to  weave.  The  warp  threads  are  the 
threads  that  run  lengthwise  in  the  rug  or  fabrics. 
The  woof  is  that  which  is  woven  back  and  forth 
crossing  the  warp  threads.  .'        ( 

Slowly,  and  at  long  intervals,  improvements 
have  been  made,  until  we  have  to-day  the  wonder- 
ful Jacquard  loom,  which  carries  few  marks  of  the 
primitive  ones  just  described. 

To-day,  large  hand  looms  are  still  in  use  in  some 
of  the  foreign  countries,  and  in  many  of  the  schools 
this  lost  art  is  being  revived.  We  also  find  a  great 
deal  of  this  in  the  settlement  work  in  many  of  the 
larger  cities. 

No  school  need  be  without  the  small  hand-loom 
work,  since  this  can  be  carried  on  without  cost  in 
the  way  of  equipment. 

This  chapter  affords  far  more  material  than  will 
be  needed  by  the  teacher  who  is  trying  to  teach 
the  history  of  the  textile  or  weaving  industry,  and 
it  will  give  a  better  conception  of  it  than  volumes 
of  printed  material  could  possibly  give. 

In  addition  to  discipline  and  technique,  this 
art  gives  practical  training  in  color  and  design. 

Loom-weaving  is  preceded  by  paper-mat  weav- 
ing, both  single  and  double.  And  from  this  it  is 
a  perfectly  natural  step  to  the  loom-weaving. 


WEAVING. 


87 


nam 


1.    SINGLE-MAT  WEAVING. 

We  shall  use  8"  squares  of  paper  for  this.  Bogus 
is  the  most  desirable,  being  cheaper  and  also  well 
adapted  to  the  use  of  water-color  and  crayon.  With 
very  young  children 
some  other  paper 
which  is  colored  may 
be  used  for  weavers. 
Bogus  paper  may  be 
colored  very  readily 
by  dipping  in  Easy 
dye. 

Two  squares  are 
needed  for  each  mat, 
one  of  which  is  col- 
ored. 

Fold  one  of  these 
in  the  center,  which 
will  give  an  oblong 
4"x8".  With  a  ruler 
measure  down  1 "  from 
each  corner,  placing 
dots  at  A  and  B.  The 
corners  referred  to  are 
the  ones  on  the  edge 
that  does  not  have  the 
fold.  Connect  these 
dots  with  the  line  AB 
in  Figure  192.  On 
the  line  AB  and  on 
the  folded  edge  meas- 


F.«  193 


F.ql9* 


88         ELEMENTARY  INDUSTRIAL  WORK. 

ure  1"  from  each  end,  and  again  make  dots.  This 
leaves  a  space  of  6"  between  the  dots.  Divide  this 
6"  line  by  means  of  dots  into  J"  spaces.  Connect 
the  corresponding  dots  in  the  two  lines  by  means 
of  pencil  lines.  Now  take  the  scissors  and  cut  on 
these  lines,  being  careful  to  stop  cutting  just  as  you 
get  to  the  line  AB.  Unfolding  we  have  Figure  193, 
which  is  the  square  with  incisions  6"  long  and  a  margin 
of  1 "  all  the  way  around.  The  line  AB  in  Figure  1 92 
does  not  show,  since  that  side  has  been  turned,  so 
that  it  becomes  the  under  side  of  the  mat.  The  dotted 
line  shows  where  the  mat  has  been  folded. 

Cut  the  second  square  into  strips  J"  wide,  to  be 
used  as  weavers.  One  of  these  is  shown  in  Figure 
194.    Twelve  will  be  needed  for  this  mat. 

For  the  first  mat,  when  using  this  text  without 
an  instructor,  use  Figure  207  for  your  model  or  work- 
ing drawing.  Place  the  mat  before  you,  and  begin 
at  the  upper  left-hand  corner,  and  bring  the  end  of 
the  weaver  thru  up  the  first  slit,  passing  it  across 
and  down  thru  the  next,  and  so  on  until  we  have 
woven  across  to  the  other  side  of  the  mat.  The 
second  is  started  according  to  the  pattern,  beginning 
each  time  on  the  bottom  side.  Continue  in  this  way 
until  twelve  are  woven  in.  All  of  the  ends  being  on 
the  bottom  side,  they  may  now  be  pasted,  thus  keep- 
ing them  in  place,  and  the  mat  is  finished. 

After  this  is  thoroly  understood  it  may  be  taken 
up  with  the  class,  having  them  work  out  their  design 
before  cutting  and  weaving. 

Figures  195,  196  and  197  show  the  mats  executed 
in  1"  squares. 


WEAVING. 


89 


KS  K 


Fn>  <9J- 


90  ELEMENTARY  INDUSTRIAL  WORK. 


207 


■    ■«■■■ 
■    ■    ■■■■    ■    ■ 


m 


2J& 


WEAVING.  91 

To  make  the  mats  mentioned  in  the  preceding 
paragraph,  or,  to  be  specific,  as  in  Figure  195,  start 
it  in  the  same  way  as  Figure  192,  and  place  dots  1" 
apart  instead  of  J".  This  is  desirable  for  kinder- 
garten work  or  at  the  beginning  of  mat-weaving 
with  dull  and  backward  children. 

Much  could  be  said  about  the  patterns  in  Figures 
195-218,  inclusive.  They  are  copies  of  mats  that  have 
been  executed  by  children  who  had  had  no  previous 
training  in  design,  and  have  been  inserted  to  en- 
courage the  teacher  who  is  not  very  confident  of 
success  in  this  line.  The  patterns  afford  a  large 
source  of  suggestions  for  designing  straight-line  pat- 
terns. Some  of  them  make  good  patterns  for  lin- 
oleums if  used  just  as  they  are,  Figure  214  being  one 
that  will  repeat  well. 

2.    A  WOVEN  BOX. 

Just  a  little  in  advance  of  the  mats  is  the  weaving 
of  baskets,  boxes,  trays,  etc.  For  a  box  3"  square 
and  1 "  high,  cut  a  6"  square  of  paper  and  four  colored 
strips  J"  wide  and  13"  long.  Fold  the  square  into 
sixteen  squares. 

Have  the  children  do  this  folding  in  concert. 
Especially  in  the  beginning  is  this  essential.  If  each 
one  of  them  is  permitted  to  fold  his  square  individ- 
ually, many  of  them  will  fail  in  their  first  attempt. 

Let  them  first  place  the  squares  before  them 
on  the  desk,  and  fold  from  the  bottom  up,  creasing 
in  the  center.  Next  unfold,  and  again  fold  the  lower 
half  with  the  edge  coming  to  the  center,  and  then 
creasing.  Unfold  and  turn  the  paper  around,  repeating 
this  operation  on  the  other  half  of  the  square.    This 


92 


ELEMENTARY  INDUSTRIAL  WORK. 


leaves  the  paper  folded  in  four  oblongs.  Unfold 
and  turn  half-way  around,  repeat  the  preceding 
folds,  and  the  sixteen  squares  will  be  formed. 

In  order  to  proceed  with  the  box,  cut  out  a  square 
at  each  corner,  which  leaves  Figure  219. 

The  dotted  lines  show  where  the  paper  has  been 
folded.  Make  dots  J"  apart  on  each  side  of  the  square 
in  the  center,  which  is  made  up  of  smaller  squares. 
This  large  square  will  form  the  bottom  of  the  bas- 
ket. Draw  lines 
from  each  dot  to  the 
outer  edge  of  the 
basket,  keeping  them 
parallel  by  holding 
the  ruler  in  line  with 
the  dots  on  opposite 
sides  of  the  square. 
After  lines  have  been 
drawn  on  the  four 
sides,  cut  to  the  large 
square  forming  the 
bottom.  Begin  weav- 
ing, and  weave  the 
four  strips  on  one  side,  then  turn  up  at  the  corner  and 
weave  across  the  next  side  in  the  same  way.  Continue 
in  this  manner  until  you  have  woven  the  fourth  side, 
and  then  fasten  by  pushing  the  weavers  in  on  the  side 
first  woven.  The  top  is  finished  off  by  bending  the 
spokes  that  are  on  the  outside  of  the  box  over  the 
last  weaver,  and  pushing  them  down  on  the  inside  under 
the  weaver  preceding  the  one  used  in  the  last  time 
around.  The  other  spokes  are  cut  off  even  with  the 
top.  A  little  paste  may  be  used  on  the  ones  pushed 
down,  making  the  basket  more  permanent. 


Fig£l9 


WEAVING. 


93 


Trays  are  made  in  the  same  manner.  Baskets  are 
made  by  the  use  of  an  oblong  piece  of  paper  and  the 
addition  of  a  handle.   Square  baskets  may  also  be  made. 


3.    RIGHT  AND  LEFT  WEAVING. 

This  is  desirable  for  all  children,  since  it  culti- 
vates ambidexterity  (using  both  hands  with  equal 
skill  and  ease);  and,  as  we  advance  in  the  handicrafts, 
we  shall  realize  more  and  more  how  often  it  is  con- 
venient for  the  left 
hand  to  take  the  lead 
at  given  intervals. 
Only  a  few  problems 
will  be  given. 

Bookmarks  afford 
quite  a  range  of  sub- 
ject-matter. For  a 
small  and  simple  book- 
mark take  two  strips 
of  bogus  paper  j"  wide 
and  4  J"  long,  and  two 
colored  strips  8"  long. 

Fold  each  strip  in  the  center  lengthwise  and  crease. 

Referring  to  Figure  220,  take  No.  1  in  the  left 
hand  with  the  open  end  projecting  up,  and  place 
around  it  colored  strip  No.  2  with  the  open  end  to  the 
left  and  about  1 "  above  the  closed  end  of  No.  1 .  Open 
No.  3  and  place  it  around  No.  2.  Then  opening  No. 
4,  placing  it  around  No.  3,  the  open  end  may  be  slipped 
between  No.  1,  thus  making  ready  to  draw  all  to- 
gether firmly.  A  little  paste  is  added  between  the 
strips  where  they  cross,  the  ends  of  the  bogus  paper 


94  ELEMENTARY  INDUSTRIAL  WORK. 

are  cut  off  close  to  the  colored  strips,  the  ends  cut  as 
shown  in  Figure  221 ,  and  the  bookmark  is  ready  for  use. 

Figures  222  and  223  show  a  more  elaborate  book- 
mark, using  two  colored  strips  12"  long,  and  four 
bogus  strips  8"  long.  The  process  is  so  similar  to 
Figures  220  and  221  that  no  further  explanation  is 
necessary. 

Mats  similar  to  Figure  224  may  be  woven  like 
the  bookmarks,  except  that  more  strips  are  used  and 
all  of  the  ends  cut  off.  Figure  224  necessitates  eight 
colored  strips  f"  wide  and  15"  long,  and  six  bogus 
strips  of  the  same  width  and  1 8"  long. 

Wall  pockets  demand  a  more  difficult  construc- 
tion, and  afford  good  training.  A  good  size  may  be 
had  by  cutting  a  piece  of  colored  paper  2"  wide  and 
6"  long,  and  a  piece  of  bogus  of  the  same  size.  Fold 
each  of  these  in  the  center,  and  crease  (Figure  225). 
Measure  down  1"  on  each  side  from  the  open  end, 
making  dots  at  A  and  B.  Connect  with  pencil  line, 
and  mark  off  on  this  spaces  §"  wide,  as  well  as  on 
the  closed  end.  Using  the  central  dot  as  a  center, 
draw  the  semi-circumference  as  indicated.  Next  cut 
on  the  line  made  with  the  compass,  and  on  the  lines 
connecting  the  dots  on  the  closed  end,  and  the  line  AB. 

Now  weave  together,  which  gives  the  pocket  in 
Figure  226. 

Pincushions  and  pillows  may  be  constructed  from 
ribbon,  making  use  of  the  weaving  in  the  foregoing 
exercises. 

Make  a  frame  of  the  desired  size  by  nailing  four 
sticks  together  at  the  corners.  Take  one  color  of  the 
ribbon  and  fasten  to  the  loom,  passing  it  back  and 


WEAVING.  95 

forth,  and  'fastening  it  at  the  ends  by  means  of  thumb- 
tacks, pins  or  brads.  Next  take  the  other  color  of 
the  ribbon,  and  weave  back  and  forth  on  this,  forming 
what  resembles  the  mats  that  have  been  woven. 
Before  removing  from  the  frame  it  will  be  necessary 
to  stitch  on  the  four  edges  to  keep  it  from  coming  apart. 
This  gives  the  top  half  of  the  pillow.  The  other  half 
may  be  woven  in  the  same  manner,  or  a  piece  of  fabric 
used  instead. 

4.    HAND-LOOM  WEAVING. 

With  a  good  understanding  of  paper-mat  weaving, 
the  loom-work  which  follows  will  be  understood  quite 
readily.  Cardboard  looms,  those  made  of  cigar  boxes, 
and  pillow  looms,  will  be  treated. 

The  terms  "warp"  and  "woof"  already  defined  at 
the  beginning  of  this  chapter  will  be  used  frequently. 

Materials  used  are  chenille,  carpet  rags,  jute, 
jute  twine,  filo  strands,  raffia  and  others.  Raffia  and 
jute  twine  are  those  that  are  in  most  common  use. 

Jute  is  a  vegetable  fibre,  being  produced  from  the 
bark  of  a  tall  shrub  which  grows  to  the  height  of  eight 
to  fifteen  feet.  For  our  use  we  may  call  the  plant 
"jute"  (conchorus  olitorius).  This  fibre  produced  in 
the  bark  is  known  as  "bast  fibre."  It  grows  wild  in 
India,  and  where  cultivated  it  requires  no  work  save 
thinning  out  where  it  has  been  too  thickly  seeded.  It 
is  also  cultivated  by  the  Chinese  and  Malays.  Jute 
can  be  grown  along  the  Line  of  the  Gulf  States  from 
Texas  to  South  Carolina,  but  not  in  competition 
with  India  jute,  which  is  only  1  \  to  2 \  cents  per  pound. 


96  ELEMENTARY  INDUSTRIAL  WORK. 

The  fibre  of  jute  is  one  of  our  most  useful  textiles, 
tho  quite  inferior.  Its  lustre  and  cheapness,  and  the 
fact  that  it  takes  dye  readily,  cause  it  to  be  used  for 
purposes  of  adulteration,  tho  it  is  not  difficult  to 
detect  such  frauds.  It  enters  into  all  classes  of  tex- 
tiles as  well  as  burlap,  bags,  ropes  and  all  kinds  of 
cordage.  Where  cheapness  is  an  essential,  it  is  most 
desirable. 

Raffia  will  be  described  in  the  chapter  on  raffia. 
The  other  materials  here  mentioned  are  so  common 
as  to  need  no  special  comment. 

A  rug  on  a  cardboard  loom  is  an  easy  stepping- 
stone  from  the  mat-weaving.  The  mats  have  given 
some  definite  idea  of  decoration,  so  that  the  designing 
of  this  rug  will  be  simple.  In  the  way  of  decoration 
we  shall  use  only  two  bands  or  stripes.  The  proper 
width  and  spacing  of  the  bands  are  essential.  In 
designing  the  pattern  begin  by  cutting  a  piece  of 
plain  paper  just  the  size  of  the  finished  rug,  the  width 
of  which  should  be  divisible  by  J",  and  draw  the  bands 
on  this  in  lead  pencil  (Figure  227). 

After  the  design  is  made  we  are  ready  for  the 
loom.  Cut  a  piece  of  heavy  strawboard,  or,  better, 
a  piece  of  mounting-board  1"  longer  and  f"  wider 
than  the  rug  is  to  be  woven.  Measure  down  JB  from 
each  end,  make  dots,  and  draw  the  lines  AB  and  CD 
in  Figure  228.  On  these  lines  place  dots  fn  apart, 
and  cut  out  niches  as  shown  at  the  end  that  has  line 
AB.  The  other  end  shows  the  loom  before  niches 
have  been  cut. 

The  loom  is  now  ready  for  warping  (sometimes 
called  "threading").    Use  brown  carpet  warp,  and,  be- 


WEAVING. 


97 


uwYVTfrrn 


Fig 


2  27 


Fig2Zft 


ginning  at  one  side  of  the  loom,  fasten  the  end  of  the 
warp  by  making  a  knot  and  slipping  it  in  the  first  niche. 
Pass  it  along  to  the  niche  on  the  opposite  end,  and  then 
passing  it  under  the  loom,  indicated  by  the  dotted 
line  at  the  lower  left-hand  corner  of  Figure  228,  come 
up  in  the  second  niche.  Continue  in  this  manner 
until  the  loom  is  threaded,  and  then  fasten  the  ends. 
Choose  two  colors  for  woof  that  will  work  up 
well  together.  Begin  by  taking  enough  of  the  body 
color  of  the  rug  to  weave  up  to  the  band.  This, 
as  has  been  explained  in  the  woof,  is  woven  over  and 
under  the  warp  threads  until  you  have  woven  across 
the  loom  (Figure  229).  Then  draw  thru  all  but 
1  J"  of  the  woof  which  is  left  on  the  side  from  which 


98  ELEMENTARY  INDUSTRIAL  WORK. 

you  started.  Take  the  end  and  weave  it  above  the 
woof  thread  just  woven  across  (the  space  between 
the  woof  thread  and  the  opposite  end  of  the  loom), 
going  over  the  warp  thread  that  it  first  went  under, 
and  vice  versa.  Let  the  end  remain  under  the  warp 
threads  which  will  be  the  bottom  side  of  the  rug. 
Continue  by  returning  with  the  woof,  weaving  over 
one  and  under  the  next,  etc.,  until  you  have  woven 
as  far  as  this  color  is  to  go,  which  can  be  determined 
by  slipping  your  pattern  under  the  warp  threads. 
The  end  of  the  thread  is  fastened  in  the  same  way  as 
it  was  fastened  in  the  beginning.  Now,  when  you 
start  with  another  color,  begin  on  the  side  opposite  from 
the  one  on  which  you  stopped.  This  is  done  in  order 
that  both  sides  of  the  rug  will  be  even.  As  you  weave 
back  and  forth  keep  the  woof  pushed  up  tightly. 
A  stick  used  for  this  purpose  is  called  a  "batten." 
An  ordinary  ruler  makes  a  good  batten.  While 
weaving  do  not  draw  the  woof  too  tight,  or  the  warp 
threads  will  pull  in,  causing  the  rug  to  be  narrower 
in  the  center  than  it  is  on  the  ends. 

After  enough  of  this  second  color  has  been  woven, 
begin  at  the  other  end,  and  repeat  what  you  have 
done  at  the  first  end;  then  the  remaining  space  is 
woven  in  with  the  color  first  used.  Another  way  of 
weaving  is  to  begin  at  one  end  and  continue  across 
without  stopping  and  changing  to  the  other  end. 

After  you  began  weaving  you  probably  learned 
that  the  fingers  did  not  make  a  good  shuttle  (the 
shuttle  is  that  on  which  the  woof  is  wound  and  used 
to  pass  it  back  and  forth,  over  and  under  the  warp 
threads).     It  is  hoped  that  you  devised  some  form 


WEAVING. 


99 


of  a  shuttle.  It  may  have  been  a  piece  of  cardboard, 
with  a  hole  cut  in  one  end  for  holding  the  woof  and 
then  used  as  a  needle.  This  is  probably  the  simplest 
shuttle  that  can  be  devised.  A  weaving-needle,  a 
stick  notched  at  one  end  to  which  the  woof  is  tied, 
or  a  piece  of  wire,  may  also  be  used.  When  giving 
this  problem  to  the  children  let  them  discover  for 
themselves  that  they  need  some  kind  of  a  shuttle, 
and  then  have  them  devise  one,  thus  developing 
initiative. 


W\Aaaa]\AJ 


F*3229 


F^Z3\  Fig  232 

The^rug  is  finished  by  taking  it  from  the  loom, 
fastening  the  ends  of  the  warp  thread,  and  slipping  the 
woof  towards  the  ends,  filling  the  loops  out  evenly  that 


100        ELEMENTARY  INDUSTRIAL  WORK. 

had  been  hooked  around  the  projections  at  the  end  of 
the  loom.    The  finished  rug  is  shown  in  Figure  230. 

The  fringes  may  be  made  by  cutting  pieces  of 
jute  twine  about  1"  long  (Figure  231),  and  tying  in 
the  center  with  a  light  piece  of  cord;  then  doubling 
and  wrapping  just  below  where  it  was  tied  (Figure 
232).  Cut  the  ends  off  evenly  and  fray  out.  The 
fringe  is  now  ready  to  be  attached  to  the  loops  of  the 
warp. 

Another  rug  is  given  to  illustrate  the  working  of 
a^pattern  on  a  hand  loom. 

\  }The  designing  of  the  pattern  comes  first.  Cut  a 
piece  of  blank  paper  the  size  of  the  rug,  and  rule 
lines  y$  apart,  both  lengthwise  and  crosswise.  This 
will  give  a  piece  of  cross-ruled  paper  made  up  of  ^" 
squares. 

j  The  single  weaving  will  be  a  great  aid  here  in 
the  design.  Keep  the  children  at  the  execution  of 
simple  centers  in  the  beginning,  and  always  use  large 


TVTYTl 


Fig*  233 


234LAAA/ 


rVTVTTT 


LAATLAJU 


WEAVING.  101 

spots  in  preference  to  a  group  of  smaller  ones,  as 
they  are  difficult  to  execute  and  do  not  look  well,  as 
a  rule,  even  when  properly  executed.  After  the  form 
and  size  of  the  center  have  been  decided  upon  (Figure 
233),  have  the  pattern  made  in  color,  using  the  same 
two  colors  for  each  pattern,  but  interchanging  them 
so  as  to  see  which  arrangement  of  color  is  best. 

The  center  is  woven  as  shown  in  Figure  234. 
Place  the  pattern  under  the  warp  in  order  that  the 
center  is  properly  located.  Then  the  other  part  of 
the  rug  done  in  another  color  is  woven.  A  weaving- 
needle  or  a  large  raffia  needle  is  necessary,  after  the 
center  has  been  woven,  to  use  in  passing  the  warp 
back  and  forth. 

As  can  be  seen  from  Figure  234,  after  the  center 
is  woven  you  should  start  at  the  end  and  weave 
until  it  is  filled  up  to  the  color,  then  fill  out  to  the 
other  end,  and,  lastly,  fill  in  on  both  sides  of  the 
center. 

It  is  sometimes  desirable  to  fasten  a  knitting- 
needle  or  a  piece  of  stiff  wire  along  with  each  outside 
warp  thread  to  keep  the  sides  from  drawing  in  while 
weaving.  After  the  rug  is  woven  the  needles  are 
readily  pulled  out  and  do  not  injure  the  rug. 

A  box  loom  is  somewhat  in  advance  of  one  that 
has  been  constructed  of  cardboard. 

This  will  also  involve  the  heddle  shown  in  Figure 
237,  which  is  a  device  for  raising  and  lowering  the 
warp  threads,  making  it  possible  to  save  much  time 
in  weaving.  The  shuttle  already  referred  to  is  shown 
in  Figure  238.  The  woof  is  wound  around  the  shuttle, 
and  then  it  is  passed  back  and  forth  in  weaving. 
The  shuttle  may  also  be  used  as  a  batten. 


102        ELEMENTARY  INDUSTRIAL  WORK. 


n     nTT 

■    r   *   J   l—»    U_  l^i   i^. 


].|.        .       .        -       . 


*37 


NorE-.- 

Fig2Z7 

mail   foe  used 
as    a   pattern 

in  f.«  zss: 


Fiqs2.35 


£36 


Design  the  pattern  carefully  so  as  to  get  good 
proportion,  and  do  not  have  it  too  large  to  be  woven 
on  the  box  from  which  you  are  going  to  construct 
your  loom. 

Remove  the  lid  from  the  cigar  box  and  cut  away 
a  part  of  the  sides,  as  shown  in  Figure  236.  Drive 
brads  on  either  end  at  intervals  of  f".  Having  done 
this,  we  are  ready  for  stringing  the  loom.  Carpet 
warp  is  used  as  before.  Fasten  this  to  the  first  brad 
(A)  in  Figure  235,  and  pass  thru  the  long  opening 
in  the  heddle.  It  is  then  carried  on  around  the  first 
two  brads  on  the  other  end  of  the  box,  and  back 
thru  the  heddle,  passing  thru  the  small  circular  open- 
ing and  on  to  the  end  of  the  box  from  which  we  started. 
It  is  then  carried  around  the  second  and  third  brads, 
passed  thru  the  heddle  and  continued  in  this  order 
until  the  loom  is  warped. 

In  the  side  view  of  the  loom,  A  in  Figure  236 
shows  the  heddle  at  rest,  and  ready  for  weaving. 
Begin  weaving  by  raising  the  heddle  as  indicated  at 
B.    Both  the  heddle  and  the  warp  thread  are  shown 


WEAVING.  103 

by  clotted  lines  in  the  position  that  they  will  assume. 
The  warp  threads  passing  thru  the  circular  opening 
are  the  ones  that  are  raised  while  the  other  warp 
threads  remain  at  rest,  the  long  slits  or  openings 
making  it  possible.  Having  the  heddle  raised,  and 
understanding  the  position  of  the  warp  threads,  the 
shuttle  is  passed  between  the  two  sets  of  threads 
thru  the  opening  B'.  Lowering  the  heddle  to  the 
position  C  crosses  the  threads,  and  the  shuttle  is 
passed  back  thru  the  opening  C  This  is  continued, 
and  we  find  the  same  result  in  a  far  shorter  length  of 
time  than  was  the  result  with  the  cardboard  loom. 

Raffia  rugs  or  mats  may  be  woven  on  either  the 
cardboard  or  box  loom.  The  raffia  can  be  used  with 
carpet  warp  or  strands  of  it  split,  which  make  very 
serviceable  warp.  The  woof  should  be  kept  flat  in 
weaving;  that  is,  the.  strands  of  raffia  spread  out. 
This  permits  of  very  pleasing  effects  if  natural  and 
colored  raffia  are  combined. 

Fringes  are  added  in  the  same  way  as  the  one 
in  Figures  231  and  232. 

Hammocks  are  woven  in  nearly  the  same  manner 
as  the  rugs. 

The  hammock  is  to  bag  when  finished,  so  a  loom 
with  circular  ends  is  needed.  But,  in  designing  it, 
it  is  not  necessary  to  make  the  ends  curve,  provided 
we  are  going  to  use  the  compass  for  laying  out  the 
ends  of  our  loom.  If  no  compass  is  to  be  used,  which 
is  never  preferable,  cut  an  oblong  the  size  of  the  ham- 
mock. Fold  both  lengthwise  and  crosswise.  Draw 
a  curve  to  represent  one-half  of  an  end,  beginning 
at  the  open  end  and  at  the  side  that  has  the  open 


104        ELEMENTARY  INDUSTRIAL  WORK. 


corners.    Cutting  on  this  line  gives  the  proper  shape  to 
the  loom. 


ig239  FiqZA-0 

After  the  design  for  the  hammock  has  been  made 
(this  may  have  bands  of  color  similar  to  that  of  the 
rugs),  trace  the  form  of  the  loom  on  a  piece  of  card- 
board and  cut  out  the  loom.  A  line  is  drawn  length- 
wise on  the  center  of  the  loom,  and  the  center  of  this 
line  located.  The  hammock  rings  are  now  to  be  put 
in  place.  The  heavy  harness  rings  are  not  well  adapted 
to  this  work;  therefore,  do  not  use  them  unless  you 


cannot  get  the  embroidery  rings.     f "  or  1 


is  a 


good 


size. 


Prick  two  holes  in  this  line  drawn  lengthwise  on 
the  loom,  one  f"  above  the  center  and  the  other  f" 
below  the  center.  Sew  thru  one  of  these  and  back 
thru  the  other.  Then,  slipping  a  ring  over  each  end 
of  this  thread,  tie  the  ends  together,  and  the  rings  will 
be  kept  in  place.    (See  Figure  239.) 


WEAVING.  105 

For  warp  we  may  again  use  carpet  warp  or  any 
other  suitable  material  at  hand.  Begin  warping  by 
securing  an  end  to  one  of  these  rings,  and  then  pass 
it  over  the  niche  to  the  outside  on  the  left,  going  the 
length  of  the  loom  on  the  other  side  and  coming 
back  in  the  same  niche  on  the  opposite  end,  and  pass- 
ing thru  the  second  ring.  Continue  by  passing  from 
the  second  ring  back  to  the  end  nearest  it,  and  so  on 
until  the  loom  is  warped.  The  end  is  now  secured 
and  we  are  ready  for  weaving. 

Begin  weaving  in  the  woof,  but  this  time  we  are 
going  to  have  a  fringe  on  either  side.  As  you  pass 
across  the  first  time  leave  about  1 "  of  the  woof  that  is 
not  drawn  thru.  Then,  as  you  weave  back,  leave  the 
same  on  the  second  side.  This  is  not  an  end,  but  a 
loop,  and  will  be  cut  later.  Continue  until  you  have 
filled  this  side  that  does  not  have  the  rings. 

If  left  in  this  way  the  hammock  would  not  last 
long,  so  thread  a  needle  with  carpet  warp  and  blanket- 
stitch  the  woof  (Fig.  180)  to  the  warp  on  the  ends 
and  sides,  securing  it  in  such  a  manner  that  it  will  not 
pull  out.  After  sewing,  the  projecting  ends  of  the 
woof  are  all  cut  off  evenly,  and  may  be  frayed  out 
easily  by  splitting  with  a  pin. 

Use  this  same  needle  threaded  with  carpet  warp 
to  weave  back  and  forth  a  few  times  close  up  to  the 
rings,  so  that  they  will  remain  in  position  after  the 
hammock  has  been  taken  from,  the  loom. 

Pillow  looms  and  the  making  of  porch  pillows 
are  treated  in  the  latter  part  of  the  chapter  on  raffia. 

A  Bag  made  entirely  of  carpet  warp  will  not 
be  found  out  of  place  here.    The  design  precedes  the 


106        ELEMENTARY  INDUSTRIAL  WORK. 

making  of  the  loom,  but  is  not  represented  by  a  figure. 
It  should  not  be  larger  than  2"x3"  when  finished, 
and  several  colors  may  be  combined.  The  warp  may 
be  white  or  colored,  and  the  woof  of  several  colors 
worked  by  alternating  or  using  bands  to  make  the 
decoration. 


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Cut  a  piece  of  cardboard  1"  longer  than,  but 
the  same  width  as,  the  bag.  Rule  a  line  Jfl  from  the 
end,  and  stick  pins  half-way  thru  at  intervals  of 
3-16"  on  this  line.  The  first  and  last  pin  should  be 
but  3-32"  from  the  end  of  the  line,  since  we  are  going 
to  weave  around  this  loom,  and  that  will  make  all  of 
the  spaces  between  the  warp  threads  equal. 

Warp  the  loom  by  securing  the  end  to  one  of  the 
pins,  pass  it  down  around  the  end  and  up  over  the 
part  of  the  same  pin  which  projects  thru  on  the  back 
side  of  the  loom.  Take  it  on  over  the  second  pin  on 
this  back  side,  and  continue  in  this  manner  until 
the  loom  has  been  warped. 

Figure  241  shows  the  loom  warped  and  the  woof 
started.    It  is  woven  around  the  loom,  and,  when  you 


WEAVING.  107 

have  woven  to  the  loops  at  the  top  of  the  loom,  put 
in  two  drawstrings,  one  to  pull  toward  the  right  and 
the  other  toward  the  left.  (In  weaving  you  discovered 
that  an  odd  number  of  warp  threads  were  necessary.) 
A  tassel  (Figure  232)  may  be  attached  to  the  end  of 
each  of  the  drawstrings  if  it  is  so  desired.  The 
drawstrings  may  be  put  in  a  few  rounds  before  the  bag 
is  finished,  which  makes  the  bag  more  attractive. 

Circular  weaving  demands  a  circular  loom  (Figure 
242),  which  is  warped  ready  for  use. 

Cut  a  cardboard  circle  J"  larger  than  the  size  of 
the  desired  rug,  which  allows  for  the  making  of  niches 
J1  deep  on  the  circumference  of  the  cardboard.  Cut 
a  hole  in  the  center  J"  in  diameter.  Warp  the  loom  by 
passing  the  thread  thru  this  opening  in  the  center 
and  up  on  the  outside,  and  continue  until  there  is  a 
warp  thread  in  each  of  the  niches. 

The  loom  has  warp  on  both  sides,  but  is  to  be 
woven  on  one  side  only.  Begin  weaving  at  the  center, 
and  weave  around,  weaving  over  and  under  as  before. 
This  demands  an  odd  number  of  warp  threads,  the 
same  as  the  bag. 

When  the  mat  has  been  woven  to  the  outside 
the  end  is  secured.  Cut  the  warp  threads  on  the  back 
side  of  the  loom,  half-way  between  the  center  and 
the  circumference.  The  outside  ends  are  now  tied 
to  prevent  the  woof  from  slipping,  and  form  a  fringe. 
The  ones  in  the  center  are  sewed  or  worked  into 
the  underside  of  the  jug. 

Mufflers  make  an  attractive  problem  in  weaving 
and  merit  a  better  material  than  jute.  They  may 
be  woven  with  or  without  stripes  at  either  end. 


108        ELEMENTARY  INDUSTRIAL  WORK. 

Use  a  loom  1 9"  in  length.  Cardboard  is  not  strong 
enough  for  this,  tho  it  can  be  used  if  necessary.  It  is 
usually  possible  to  get  a  board  of  this  length  and  of 
a  suitable  width.  Dry-goods  boxes  provide  excellent 
material.  Drive  nails  at  the  ends  on  which  to  string 
the  warp.  In  weaving  draw  the  woof  tighter  in  the 
central  section,  thus  making  it  narrower,  so  that  it 
will  fit  better  at  the  neck. 


RAFFIA  WORK.  109 

VIII. 
RAFFIA  WORK. 

Raffia  is  the  fibre  of  a  palm,  or,  rather,  the  outer 
covering  of  the  palm,  and  is  imported  from  Madagas- 
car. It  comes  from  the  African  palm,  and  is  harvested 
before  the  leaves  are  fully  developed. 

This  fibre  is  gathered  and  cured  by  the  natives, 
both  men  and  women.  It  is  made  into  large  hanks 
or  braids,  and  these  in  turn  are  made  into  bales  weigh- 
ing 225  pounds.    The  bales  are  then  exported. 

Raffia  was  first  imported  and  used  as  ties  by 
nurserymen.  It  has  proven  to  be  a  most  excellent 
thing  for  handwork.  The  natural  raffia  is  quite 
artistic.  If  a  variety  is  desired,  it  can  be  dyed.  Some 
authors  say  it  takes  dye  readily,  but  such  is  not  the 
case,  as  it  resists  the  dye  more  than  any  other  material 
that  we  use;  but,  if  the  following  hints  are  observed, 
anyone  can  dye  raffia  successfully.  The  chapter  on 
design  gives  suggestions  for  vegetable  dyes. 

Of  the  aniline  dyes,  Easy  Dye  is  perhaps  of 
the  most  satisfactory.  To  prepare  the  raffia  for 
dyeing,  unbraid  the  hanks  and  wrap  them  in  wet 
cloths  or  newspapers,  and  leave  overnight.  If  dyeing 
must  be  done  at  once,  soak  the  hanks  in  water  for  an 
hour  or  two. 

The  dye  is  dissolved  in  boiling  water.  Then 
place  the  raffia  in  this  bath  and  let  it  boil  for  ten 
minutes.  If  several  hanks  are  to  be  dyed  in  the  same 
bath,  a  little  more  of  the  dye  must  be  added  for  each 
bath,  or  the  raffia  will  be  of  a  lighter  color. 


110        ELEMENTARY  INDUSTRIAL  WORK. 

Raffia  has  been  used  to  supplement  the  work  in 
the  chapters  on  burlap-weaving,  and  basketry  could 
not  be  elaborated  on  at  all  without  it.  Here  it  will 
be  treated  not  as  a  means  to  an  end,  but  as  the  end 
in  itself  so  far  as  material  for  the  handwork  is  con- 
cerned. 

1.    WRAPPED-WORK. 

In  wrapped- work  it  is  necessary  to  have  some- 
thing to  use  as  the  framework  around  which  the 
raffia  is  wrapped.  This  is  called  the  foundation.  It 
usually  consists  of  heavy  strawboard  or  cardboard. 
The  raffia  must  be  kept  well  spread  out  while  wrap- 
ping, so  as  to  get  the  benefit  of  the  full  width  of  the 
stand. 

A  napkin  ring  is  the  simplest  of  these  (Figure 
244).  Decide  on  the  length  and  diameter  of  the  ring. 
Then,  finding  the  circumference,  cut  a  foundation  as 
wide  as  the  ring  is  long,  and  whose  length  is  this 
circumference  plus  J"  for  lapping. 

Execute  by  lapping  the  foundation  J"  and  sewing 
to  make  secure  (Figure  243).  Begin  wrapping,  using 
the  wide  end  of  a  strand  of  raffia.  Cover  this  end  and 
continue  wrapping,  being  sure  that  no  parts  of  the 
foundation  show  until  another  strand  is  needed.  A 
new  strand  is  started  without  knotting  by  simply 
wrapping  over  the  end.  Secure  the  last  end  by  pushing 
it  under  the  raffia  on  the  inside  of  the  ring. 

A  circular  frame  is  made  by  having  the  material 
for  the  foundation  cut  in  squares.  This  affords  an 
opportunity  of  teaching  the  term  "diagonal."  Have 
the  children  draw  diagonals  so  as  to  locate  the  center. 


RAFFIA   WORK. 


111 


Fi^4-4*. 


For  a  compass  cut  a  narrow  strip  of  cardboard  (Figure 
246).  Near  one  end  (at  A)  push  a  pin  thru  the  card- 
board. Then  from  this  point  measure  a  distance 
equal  to  the  length  of  the  radius  for  the  inside  circle 
or  opening  in  the  frame,  and  make  a  dot.  Push  a 
pencil  thru  this  opening,  and,  with  the  pin  at  the 
point  where  the  diagonals  cross,  draw  the  circle. 
Locating  the  dot  for  the  radius  of  the  outside  circle, 
draw  it  in  the  same  manner. 

Figure  245  shows  the  finished  frame.  This  cir- 
cular piece  of  cardboard  with  the  circular  opening 
is  now  wrapped  in  the  same  manner  as  the  napkin 
ring.    A  small  loop  is  attached  for  hanging. 


112        ELEMENTARY  INDUSTRIAL  WORK. 

It  is  not  well  to  give  this  exercise  without  first 
designing  the  frame  so  as  to  accommodate  some 
picture.  This  does  not  mean  that  photographs  are 
necessary  or  prints  must  be  bought.  Pictures  cut 
from  magazines  will  meet  the  requirements.  After 
the  frame  has  been  completed  paste  the  picture  on 
the  back  of  the  frame,  then  cut  a  piece  of  paper 
slightly  smaller  than  the  frame  itself,  and  paste  it 
over  the  picture.  In  designing  the  frame  the  width 
of  the  frame  should  be  considered  in  proportion  to 
the  area  surrounding  the  picture. 


Figures  247  and  248  illustrate  how  the  circular 
frame  may  be  varied.  In  Figure  248  is  shown  how 
natural  and  colored  raffia  may  be  combined;  also, 
the  blanket-stitch,  illustrated  in  Figure  180,  is  used 
on  the  edge  for  decoration.    In  Figure  247  a  braided 


RAFFIA  WORK.  113 

strand  of  raffia  is  sewed  around  the  edge  of  the  frame 
and  lopped  at  the  top.  These  frames  may  be  made 
in  ovals  as  well  as  circles. 

Figure  249  shows  the  method  of  wrapping  a  square 
frame.  The  miters  are  pierced  and  sewed  thru  in  wrap- 
ping as  indicated  in  the  figure.  Raffia  needles  are 
necessary  for  passing  the  raffia  thru  these  piercings. 

Calendar  mounts  are  made  like  Figure  250.  An 
oblong  foundation  is  used  and  diagonals  drawn.  The 
full  length  of  the  diagonals  may  be  pierced  lengthwise 
so  that  the  miter  runs  from  the  corner  to  a  line  passing 
lengthwise  thru  the  center  of  the  frame.  Or  it  may 
be  executed  similarly  to  that  of  the  picture  frame  in 
Figure  249,  and  the  calendar  pad  mounted  on  this. 
The  latter  plan  is  shown  executed  in  Figure  250.  The 
diagonals  are  drawn  as  before,  but  a  smaller  oblong 
is  drawn  on  the  card  inside  of  the  large  one,  and  holes 
pierced  on  the  four  miters.  It  is  then  wrapped, 
sewing  thru  the  piercings  as  indicated. 

Thermometer  mounts  are  made  like  the  calendar 
mounts.  A  piece  of  bristol  board  (other  stiff  paper 
may  be  used)  is  used  to  mount  the  thermometer  on, 
and  then  the  bristol  board  is  secured  to  the  raffia 
mount  (Figure  251). 

The  match-holder  and  scratch  (Figure  252)  re- 
quires a  little  more  time,  but  is  readily  constructed. 
The  mount  or  back  is  made  the  same  as  in  Figures 
250  and  251.  A  piece  shaped  like  Figure  253  is  cut 
for  the  holder.  Diagonals  show  that  it  is  covered  the 
same  as  tho  it  had  been  intended  for  a  mount.  It 
is  fastened  in  place  by  sewing  edges  A  and  B  to  the 
back.    A  piece  of  cardboard  is  then   cut,   which  fills 


114        ELEMENTARY  INDUSTRIAL  WORK. 

the  opening,  and  sewed  in  place  to  form  the  bottom. 
It  may  be  covered  with  raffia  if  desired.  A  piece  of 
sandpaper  is  then  glued  on  below  the  box  to  form 
the  scratcher. 


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Circular  boxes  are  made  like  Figure  256.  Cut 
two  circular  pieces  of  foundation  material  the  same 
diameter  as  that  of  the  box.  In  the  center  cut  a 
small  circular  opening.  In  wrapping  pass  the  raffia 
thru  this  and  to  the  outside,  and  on  around  and 
thru  the  central  opening  again,  etc.  (Figure  254). 
The  oblong  piece  shown  in  Figure  255  is  for  the  body 
or  sides  of  the  box.  It  is  overlapped  and  sewed  and 
wrapped  like  a  napkin  ring  (Figure  243).  One  of  the 
circles  is  sewed  to  one  end  of  this  cylinder,  forming 
the  bottom.  The  cover  is  then  hinged  by  sewing 
with  raffia  in  one  place  only. 


RAFFIA  WORK.  115 

This  may  be  varied  by  making  the  top  and  bottom 
larger  than  the  diameter  of  the  box  itself,  thus  pro- 
jecting over  the  sides  all  of  the  way  around. 

Making  the  opening  in  the  center  larger,  gives  us 
a  hair-receiver. 

Decoration  in  cross-stitch  may  be  added;  also 
mass  decoration  by  sewing  with  colored  raffia  can 
be  executed. 

Square  and  oblong  boxes  can  be  constructed  by 
making  the  parts  in  the  same  manner  as  the  mounts  for 
Figures  250-252,  and  then  sewing  them  together 
to  form  the  boxes. 

2.    BRAIDED  WORK. 

In  making  a  braid  always  start  with  the  large 
ends  of  the  strands  of  raffia.  Several  strands  of 
raffia  are  used  for  each  strand  of  the  braid.  Just 
as  soon  as  the  braid  becomes  thin,  add  more  raffia, 
inserting  a  few  strands  at  a  time.  Do  not  mind  the 
ragged  appearance  that  these  projecting  ends  present 
when  starting  additional  strands,  since  they  may  be 
cut  off  close  to  the  braid  after  the  braid  is  finished. 
In  sewing  the  braids  together  use  a  fine  strand  of 
raffia  that  has  been  provided  by  splitting  a  larger 
strand. 

Mats. — It  is  not  necessary  to  braid  more  than 
several  feet  before  beginning  to  make  the  mat  (Figure 
257).  The  braid  is  laid  on  edge  and  sewed.  Be  sure 
to  get  it  round  in  the  beginning,  so  that  the  mat  will 
not  be  flat  on  one  side  when  finished.  When  you 
have   sewed   to   where   you   left   off   braiding,    more 


116        ELEMENTARY  INDUSTRIAL  WORK. 


raffia  is  added  to  the  braid.  After  the  mat  is  of  the 
desired  size  a  border  is  sewed  on  as  indicated  in  the 
figure  with  the  raffia  placed  flat  and  not  on  edge. 


Fig  2, 6 1  FtcjZ6Q 

If  an  elliptical  mat  is  desired,  the  beginning 
should  be  straight  for,  say,  an  inch,  then  doubled 
and  continued  in  the  same  manner  as  a  circular  mat. 

Another  form  is  shown  in  Figure  258.  The  braid 
is  placed  flat  and  the  edges  sewed  together.  The 
border  is  made  in  the  last  time  around  the  mat  and 
is  a  part  of  it. 


RAFFIA  WORK.  117 

Bags  are  illustrated  by  Figure  259.  Two  cir- 
cular mats  are  made  and  sewed  together,  leaving 
an  opening  at  the  top.  Braids  for  carrying  or  hanging 
are  added  last. 

Trays  and  baskets  are  started  like  the  mat  in 
Figure  258.  After  the  bottom  is  large  enough  turn 
the  braid  to  conform  to  the  form  of  the  sides,  and 
continue  sewing.  A  drawing  should  be  made  and 
followed  as  in  Figure  301  under  basketry.  A  tray 
is  shown  in  Figure  260.  These  make  attractive 
trays  and  serviceable  baskets  if  not  made  too  large. 
Small  jewel-cases  can  be  made  by  lining  the  basket 
and  making  a  cover  for  it,  which  is  hinged  by  sewing 
in  one  place  with  some  raffia. 

Hats. — Doll-hats  afford  a  great  deal  of  pleasure 
and  develop  initiative.  A  representative  one  is  shown 
in  Figure  261.  The  beginning  is  the  same  as  that 
of  a  basket  if  a  flat  top  is  desired.  Then  the  sides 
of  the  crown  are  the  same  as  the  sides  on  a  basket. 
The  brim  is  started  after  the  crown  has  been  woven 
tall  enough,  and  the  hat  is  readily  completed. 

If  the  top  is  to  be  other  than  flat,  it  is  easily 
accomplished  by  drawing  the  braid  quite  tight  in 
sewing,  which  will  cause  the  top  to  bulge  upward. 

Rugs  and  mats  are  treated  in  the  chapter  on 
weaving. 

3.     KNOTTED  WORK. 

Shopping-bags  knotted  from  raffia  are  very  attract- 
ive.    The  first  bag  is  made  using  the  over-hand  knot. 


118        ELEMENTARY  INDUSTRIAL  WORK. 

To  begin  the  bag  use  a  cord  or  strand  of  raffia,  knotted 
at  the  ends,  around  which  to  hang  all  of  the  strands 
of  raffia.  Each  strand  then  gives  two  ends.  For  this 
we  use  eighteen  strands  of  natural  raffia.  Begin 
knotting  by  making  an  over-hand  knot  just  below 
the  foundation  on  which  these  eighteen  strands 
have  been  hung.  Figure  263  shows  how  the  over- 
hand knot  is  made,  tho  nearly  everyone  is  familiar 
with  it.  The  second  time  around  take  one  strand 
from  each  knot.  Figure  262  illustrates  this.  Con- 
tinue and  alternate.  The  longer  the  space  left  be- 
tween the  knots  the  larger  the  meshes  become,  and 
consequently  a  wider  bag  is  the  result.  The  bottom 
is  made  by  knotting  the  ends  of  opposite  sides  to- 
gether and  cutting  evenly  and  fraying  out. 

Two  braids  are  then  made  to  be  inserted  around 
the  top  and  used  as  drawstrings.  After  inserting 
them  with  two  ends  on  each  side,  tie  the  ends  to- 
gether and  add  a  tassel.  (See  Figure  232.)  Bags 
are  sometimes  made  with  only  one  drawstring,  but 
these  do  not  carry  well,  and  look  as  tho  they  were 
heavily  loaded  on  one  side. 

Another  bag  quite  similar  to  the  preceding  one, 
except  that  it  involves  a  more  difficult  knot,  will 
now  be  considered.  Use  eighteen  natural  and  eighteen 
colored  strands  of  raffia.  A  stirrup  is  used  as  in 
the  preceding  bags.  The  strands  of  raffia  are  placed 
two  in  a  group — one  natural  and  one  colored — where 
we  had  only  one  strand  in  the  other  bag.  This  gives 
four  ends.  One  natural  and  one  colored  end  are  held 
together,  and  the  other  two  tied  around  it.  This 
knot  is  now  executed  by  working  first  as  shown  in 


RAFFIA  WORK. 


119 


Figure  264  A,  and  then  Figure  264  B,  lastly  drawing 
the  ends  quite  tight. 


Fig263 


fig  2  6  4-B 


Proceed  by  knotting  once  around  in  this  manner. 
The  second  time  around  use  two  of  the  four  strands 
with  two  of  the  strands  from  the  adjoining  knot,  and 
continue  until  the  bag  is  of  the  desired  depth.  The 
bottom  is  closed  by  knotting  together  the  strands 
of  the  opposite  sides.  The  bag  may  be  lined  with 
suitable  material,  something  that  will  harmonize 
with  the  color  of  the  raffia  in  the  bag. 


120        ELEMENTARY  INDUSTRIAL  WORK. 


4.     PORCH  PILLOWS. 

Porch  pillows  may  be  made  of  raffia,  long  grasses 
or  straw. 


Tig  Z6S 


Fiq  a66 


Piq267 


RAFFIA  WORK.  121 

The  making  of  the  loom  and  a  pillow  of  raffia  will 
be  discussed  here. 

The  construction  of  the  loom  is  the  first  con- 
sideration. The  one  in  Figure  265  is  one  of  the  possible 
constructions,  and  is  quite  satisfactory.  Take  two 
pieces  of  wood  f"x2"x21J",  two  pieces  f"x2"x23", 
four  pieces  |"x2"x5",  and  two  pieces  f"xl"x24|"  long. 
The  figure  shows  how  it  is  put  together.  Nail  the 
23"  pieces  to  the  21  §■  pieces,  making  a  square  frame. 
Next  cut  a  notch  at  one  corner  of  each  of  the  5"  pieces, 
f"xl",  into  which  the  f"xl"  pieces  are  to  be  nailed. 
Nail  the  5"  pieces  after  notching  to  the  square  frame 
on  the  sides  that  have  the  23"  pieces.  The  two  re- 
maining pieces  are  now  nailed  in  the  notches,  and 
the  loom  is  complete,  the  last  two  pieces  being  the 
ones  to  which  the  warp  is  secured. 

A  needle  (Figure  266)  made  from  a  piece  of  wood 
^"xl"x24"  is  also  needed.  Cut  an  eye  in  one  end  by 
boring  two  holes  J"  in  diameter  and  f  "  apart.  Cut  a 
tangent  on  each  side,  joining  the  two  holes  and  forming 
the  eye.  Both  colored  and  natural  raffia,  or  natural 
alone,  may  be  used  in  weaving  the  pillow.  In  the 
pillow  shown  started  in  Figure  267  twenty-six  warp 
threads  are  strung,  and  an  equal  number  of  woof 
threads  are  to  be  used. 

By  warp  and  woof  threads  here  are  meant  bunches 
of  raffia  made  up  of  from  eight  to  twelve  strands, 
depending  upon  the  size  of  the  raffia. 

To  string  the  loom,  begin  by  taking  the  large 
end  of  the  strand  and  tie.  Take  it  across  to  the  other 
bar  and  tie  the  small  end.  The  second  one  is  first  tied 
with  the  large  end  beside  the  place  where  the  small 


122        ELEMENTARY  INDUSTRIAL  WORK. 

end  of  the  first  one  was  tied,  and  in  that  way  the 
large  and  small  ends  alternate.  After  the  three 
natural  ones  come  three  colored,  then  fourteen  natural, 
three  colored,  and,  lastly,  three  natural  ones.  After 
the  warp  is  strung,  thread  a  raffia  needle  and  blanket- 
stitch  across  each  end,  so  as  to  secure  them  and  keep 
them  in  place. 

Begin  weaving  in  the  woof  by  threading  the  needle 
with  a  bunch  of  raffia  equal  in  size  to  that  of  the  warp. 
After  the  woof  is  woven  in,  stitch  across  the  ends  the 
same  as  on  the  warp. 

This  will  make  the  top  of  the  pillow.  Weave 
one  of  just  the  same  size  from  the  natural  raffia  for 
the  back.  Sew  three  edges  together  and  fill  with 
excelsior,  moss  or  other  suitable  filling,  and  then 
sew  the  fourth  side.  The  ends  are  then  cut  evenly, 
and  the  pillow  is  complete. 


SIMPLE  BOOKBINDING.  123 

IX. 
SIMPLE  BOOKBINDING. 

As  is  suggested  by  the  little  of  this  chapter,  we 
shall  not  go  very  deeply  into  the  art-craft  of  book- 
binding. 

Without  equipment  other  than  a  punch  and 
scissors  we  cannot  go  thru  even  the  simple  processes 
involved  from  the  "forwarding"  to  the  "finishing" 
of  a  simple  book,  but  must  be  content  with  the  making 
of  desk-pads,  folios,  loose-leaf  covers,  covers  with 
simple  hinge  fastenings,  etc.  Let  the  simple  be- 
ginning that  we  make  in  this  craft  be  practical.  Nature- 
study,  language  and  other  subjects  will  demand  books 
that  can  readily  be  constructed  by  the  children. 
Become  familiar  with  the  way  of  the  practical  crafts- 
man by  examining  pieces  of  finished  work,  being 
careful  to  notice  the  detail;  and,  any  time  you  are  in 
doubt  about  something  not  given  in  this  chapter, 
proceed  by  returning  to  your  bound  book.  When 
doing  the  more  complicated  work  it  is  often  desirable 
to  take  a  book  to  pieces  in  order  to  understand  the 
construction  thoroly.  Desk-pads  are  taken  up  first, 
since  they  readily  pave  the  way  to  the  making  of 
simple  portfolios. 

The  pupil  should  be  familiarized  with  the  end 
papers  and  the  fly-leaves  at  the  front  and  back  of 
the  book.  His  attention  should  also  be  called  to  the 
arrangement  of  the  pages  with  reference  to  spacing, 
margin,   etc.     Books  having  covers  of  good  design 


124        ELEMENTARY  INDUSTRIAL  WORK. 

should  be  shown  and  note  made  of  the  fact  that  the 
lettering  is  rarely  in  an  oblique  line,  but  nearly  always 
carried  straight  across  the  cover. 

1.     DESK-PADS. 

The  materials  needed  are  a  piece  of  strawboard, 
a  piece  of  cover-paper  slightly  larger  than  twice  that 
of  the  strawboard,  some  book-cloth,  paste  and  a 
blotter. 


1 

1 

i 

L 

A 

X. — ' 

7 

The  first  step  in  the  process  is  the  making  of  a 
working  drawing  (Figure  267)  and  designing  the  decora- 
tion for  the  corners.  Figure  267  is  the  finished  pad  and 
makes  a  good  proportion.  A  good  size  for  a  small  pad 
is  9"x12".1 


SIMPLE  BOOKBINDING. 


125 


After  the  drawing  has  been  made,  cut  the  piece 
of  strawboard  just  the  size  of  the  pad.  This  is  called 
the  "foundation." 


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Then  cut  a  piece  of  cover-paper  1"  longer  and  1" 
wider  than  the  foundation  which  is  to  form  the  top 
cover.  Place  the  foundation  on  the  cover-paper,  and 
mark  around  it  in  lead  pencil.  Removing  it,  cut  off 
the  corners  of  the  cover-paper  as  shown  in  Figure 
268.  This  will  make  them  fit  as  a  miter  on  the  corners 
when  folded  over.  Grease  the  paper  on  the  pencil 
lines  and  then  insert  the  strawboard.  Paste  (a  formula 
is  given  in  the  chapter  on  Miscellaneous  Paper  Sloyd) 
by  applying  the  paste  to  the  narrow  parts  that  fold 
over  (Figure  269).  It  requires  considerable  skill  to  cover 
the  foundation  with  paste.  If  that  is  insisted  upon, 
the  best  result  is  usually  obtained  by  first  brushing 
over  the  surface  lightly  with  water  so  as  to  have  it 
moist  before  applying  the  paste.  If  this  is  not  done, 
the  part  on  which  the  paste  is  first  applied  will  be 
dried  up  before  the  entire  surface  is  coated. 


126        ELEMENTARY  INDUSTRIAL  WORK. 


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One  of  the  corners  should  now  be  drawn  full 
size.  These  are  to  be  made  of  book-cloth  or  some 
paper  that  is  quite  strong  and  will  not  tear  easily, 
since  most  of  the  wear  and  tear  comes  on  the  corners. 
Figure  270  shows  the  method  of  cutting  the  four 
corners  advantageously  from  one  strip  of  material. 
Cut  a  pattern  for  the  decoration,  and  trace  it  on  each 
of  the  four  corners  before  pasting  them.  The  corners 
should  then  have  paste  applied  to  the  flaps,  and, 
placing  the  corners  with  the  part  that  has  the  decora- 
tion on  it  on  the  side  that  has  already  been  covered, 
pasted.  The  top  side  is  shown  in  Figure  271.  The 
corner  must  not  be  drawn  down  too  tightly  or  the 


SIMPLE  BOOKBINDING.  127 

blotter  cannot  be  inserted  under  it.  Figure  272  shows 
the  back  or  under  side  of  the  pad  after  the  addition 
of  the  corner. 

The  next  step  is  the  cutting  of  a  cover  for  the 
back  of  the  pad.  Cut  a  piece  of  cover  paper  |"  shorter 
and  narrower  than  the  pad  itself.  This  is  pasted  by 
applying  paste  around  the  edge  only.  After  placing 
it  in  position,  the  back  of  the  pad  will  look  like  Figure 
273,  the  space  being  left,  since  the  back  cover  is  made 
smaller,  making  a  neater  piece  of  work. 

A  blotter  is  inserted  to  complete  the  pad.  It 
should  be  cut  f"  shorter  and  f"  narrower  than  the 
pad  itself. 


2.    PORTFOLIOS. 

Portfolios  may  be  made  as  started  in  Figure  274, 
the  corners  being  pasted  down  tight  on  the  bottom 
side  or  omitted  entirely.  The  two  pieces  of  foundation 
board  placed  on  the  cover  paper  are  to  be  joined  by 
means  of  a  hinge. 

Figure  275  shows  the  outside  covers  pasted  to 
the  foundation  board.  A  strip  of  book-cloth  or  very 
strong  paper  is  cut  to  form  the  hinge.  It  must  be  twice 
the  length  of  the  finished  book.  Paste  on  the  outside 
first,  and  then  bring  the  ends  over  to  the  inside,  so  that 
they  will  meet  in  the  center.  The  hinge  in  Figure 
275  has  been  pasted  on  the  back,  and  one  end  on  the 
inside  coming  to  the  center. 

The  tapes  are  added  (Figure  275)  by  taking  a 
sharp  knife  and  cutting  thru  both  foundation  board 
and  cover.    Push  the  end  of  the  tape  thru  from  the 


128        ELEMENTARY  INDUSTRIAL  WORK. 


outside  to  the  inside  of  the  folio,  and  paste  the  short 
end  to  the  foundation.  After  the  addition  of  the 
inside  cover  the  tapes  are  firm  and  will  not  slip  or 
pull  out. 

Paste  the  other  end  of  the  hinge  and  add  the 
inside  covers,  and  we  have  Figure  276.  This  completes 
the  portfolio. 

The  outside  of  the  folio  is  shown  in  Figure  277. 


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SIMPLE  BOOKBINDING. 
3.    A  SIMPLE  BOOKLET. 


129 


Booklets  are  always  in  demand  and  can  be  made 
in  various  forms  and  sizes. 


Both  the  cover  and  the  sheet,  making  two  leaves, 
are  represented  in  Figure  278  with  holes  pierced  for  tying 
together.  The  solid  oblong  with  a  dotted  line  across 
the  center  is  the  cover.  The  dotted  oblong  shows  the 
position  that  the  leaves  will  assume.  The  cover  when 
closed,  with  the  leaves  inside,  is  represented  in  Figure 
279.  The  dotted  and  solid  lines  at  the  hinge  show  a 
good  method  of  securing  the  leaves  to  (the  cover. 
Three  holes  are  pierced  as  shown  in  Figure  278.  With 
a  needle  pass  the  thread  thru  the  upper  hole  from 
the  outside.  Then  pass  down  on  the  inside  and  out 
thru  the  bottom  hole.    Then  pass  both  ends  in  at  the 


130        ELEMENTARY  INDUSTRIAL  WORK. 

central  hole  and  tie  around  the  cord,  cutting  the  ends 
off  close  to  the  knot.  A  simple  execution  for  the 
cover  design  is  done  in  outline  and  in  black.  Consult 
the  chapter  on  design  for  additional  suggestions  in 
designing  the  covers. 

4.    ANOTHER  BOOK. 

Figure    280    shows    the    two   foundation    boards 
placed  on  one  large  piece  of  book-cloth  which  forms 

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SIMPLE  BOOKBINDING. 


131 


both  outside  covers  and  hinge.  It  is  pasted  to  the 
foundation  in  the  same  manner  as  in  the  previous 
exercises. 

The  inside  covers  may  be  made  of  one  piece; 
but,  as  a  rule,  the  leaves  are  pasted  in  first,  and  then 
the  inside  cover,  thus  covering  each  side  of  the  leaves 
where  they  are  hinged.  Method  of  working  up  leaves 
may  be  obtained  from  Section  6  of  this  chapter. 

A  cover  design  that  may  be  given  to  a  class 
having  in  it  the  possibility  of  a  number  of  different 
solutions  is  found  in  Figure  281.  It  may  be  done  in 
solid  or  outline. 

5.    LOOSE-LEAF  BOOKS. 

Loose-leaf  books  are  desirable  both  as  notebooks 
and  books  for  mounting  pictures,  also  for  schoolwork. 
They  are  easily  constructed,  and  additional  pages 
may  be  added  at  will. 


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132        ELEMENTARY  INDUSTRIAL  WORK. 

Two  foundation  pieces  (Figure  282)  are  needed 
for  each  cover — a  narrow  one  for  piercing  and  hinging, 
and  the  wider  one  for  the  cover  proper. 

Book-cloth  is  best  for  the  outside  cover,  but 
paper  may  be  used  if  necessary.  The  foundation 
pieces  are  in  position  on  the  cover  in  Figure  283. 
Notice  that  the  left-hand  end  projects  farther  than 
does  the  right-hand  end.  This  is  done  so  that  it  will 
fold  far  enough  over  on  the  inside  in  order  to  paste 
to  the  large  foundation  piece,  Figure  284  making  a 
stronger  hinge  than  if  it  were  folded  like  the  other 
edges,  and  the  inside-cover  paper  forming  the  hinge 
on  this  side.  Paste  in  the  inside  cover,  and,  making 
another  piece  like  the  one  just  completed,  the  holes 
may  be  punched,  eyelets  inserted  and  the  cover 
design  transferred. 

Figure  285  shows  the  cover  design  and  the  holes 
punched.  The  dotted  lines  represent  the  space  form- 
ing the  hinge.  Be  sure  there  is  a  space,  and  do  not  have 
the  foundation  pieces  touching  each  other.  At  least 
yb"  should  be  left. 

If  no  eyelet  punch  is  to  be  had,  punch  the  holes 
and,  placing  the  eyelets  in  them,  clinch  by  means  of 
a  round-head  screw.  Take  a  round-head  screw  §1 
long  and  gauge  No.  7  or  8,  and  file  the  point  blunt  so 
that  it  can  be  struck  with  the  hammer.  Place  the 
cover  with  the  eyelet  so  that  the  eyelet  will  rest  on  a 
solid  block  of  wood  or  a  piece  of  iron,  and,  placing 
the  head  of  the  screw  on  the  eyelet,  strike  the  screw 
which  clinches  the  eyelet.  Then  finish  up  smoothly 
by  striking  the  eyelet  lightly  with  the  hammer. 


SIMPLE  BOOKBINDING. 


133 


6.    ART-BOOKS. 

Several  plans  for  the  contents  of  the  art-books 
are  possible.  A  certain  number  of  pictures  may  be 
chosen  to  be  studied  in  each  grade;  say  one  for  each 
month.  Then  some  of  the  important  statements 
concerning  the  pictures  could  be  written  on  the  same 
or  following  pages.  This  demands  a  book  to  which 
leaves  can  be  added  when  needed.  The  loose-leaf 
covers  also  meet  this  requirement. 

The  Perry  pictures  are  recommended,  since  they 
are  so  inexpensive. 

|  ;  Even  tho  no  appropriation  is  available  for  pur- 
chasing pictures,  the  teacher  will  find  it  worth  while 
purchasing  them  the  first  month.  After  that  the 
children  will  gladly  provide  one  cent  each  per  month 
in  order  to  get  a  new  picture  if  the  first  one  has  been 
made  interesting. 


Fig286 


Ficj287 


The  covers  for  the  art-books  are  made  the  same 
as  the  preceding  covers,  except  that  the  inside  covers 
arejnot  added  until  the  following  has  been  inserted. 


134        ELEMENTARY  INDUSTRIAL  WORK. 


To  make  these  stubs  to  which  the  pages  are  to 
be  pasted,  book-cloth  or  some  strong  cloth  of  llight 
weight  is  needed. 

Cut  a  piece  like  Figure  286.  The  space  between 
the  dotted  lines  is  for  sewing  in  the  folded  strips  that 
have  been  prepared  by  cutting  strips  1"  wide  and  of 
the  same  length  as  Figure  286,  and  folded  in  the 
center.  Take  as  many  strips  as  you  wish  leaves  in 
the  book,  and  sew  in  place  between  the  dotted  lines. 
After  sewing  they  will  look  like  Figure  287. 


A  sheet  of  construction  paper  is  then  pasted 
between  each  of  the  folded  strips  forming  the  leaves 
(Figure  288),  and  they  are  ready  to  be  inserted  in  the 
covers.  Paste  the  strips  on  either  side  of  the  leaves 
to  the  foundation  pieces  in  the  covers.  Next  cut  a 
piece  of  cover  paper  twice  the  size  of  the  inside  cover. 
Paste  one  for  the  cover  and  the  other  becomes  the 
flyleaf  of  the  book. 


BASKETRY.  135 

X. 

BASKETRY. 

Basketry  is  a  very  desirable  form  of  industrial 
work.  It  is  of  such  a  nature  that  it  offers  considerable 
resistance  to  the  worker,  thus  developing  a  great 
deal  of  dexterity  where  any  large  amount  of  basketry 
is  done.  Children  in  grades  lower  than  the  third  or 
fourth  should  be  given  only  the  simplest  kinds  of 
basketry.  Often  it  is  not  advisable  to  begin  even 
that  early. 

Materials  used  are  reed,  both  round  and  flat, 
raffia,  and  such  natural  materials  as  willows,  corn 
husks,  grasses,  pine  needles,  straw,  etc. 

Reed  is  split  from  the  inner  portion  of  rattan  and 
dressed  to  cylindrical  form  in  various  sizes,  numbering 
from  1  up.  Those  most  adaptable  for  work  in  basketry 
are  Nos.  1  to  6.  Flat  reed  is  obtained  in  the  same 
manner. 

Raffia  has  been  described  in  the  chapter  on  raffia. 

Natural  materials  must  be  gathered  by  the 
person  who  is  to  use  them.  Experience,  tho  a  costly 
teacher,  is  the  one  that  must  be  relied  upon  most  in 
gathering  them.  In  gathering  the  corn  husks  use 
only  the  inner  and  softer  ones.  Pine  needles  may  be 
used  either  green  or  dry.  Of  the  straws,  the  ones 
with  the  long  spaces  between  the  nodes  (joints)  are 
best  for  braiding.  Some  grasses  are  gathered  at  one 
season  and  some  at  another.  Cutting  at  the  wrong 
time  causes  them  to  become  brittle  with  age.     The 


136        ELEMENTARY  INDUSTRIAL  WORK. 

proper  time  for  cutting  willows  is  given  under  the 
heading  "Willow  Baskets." 

Tools. — Only  a  few  simple  tools  are  necessary. 
One  can  get  along  admirably  with  a  sharp  knife  and 
a  ruler.  If  some  tool  is  needed  to  make  an  opening  for 
the  ends  of  spokes,  one  can  be  made  by  shaving  a 
stick  of  hard  wood  to  a  long  point.  Heavy  shears  are 
useful  when  cutting  up  large  quantities  of  material 
for  class  use.  Pliers  can  also  be  used  at  times,  but  are 
not  absolutely  necessary. 

If  no  utensil  is  at  hand  for  soaking  raffia,  get  a 
lard-can,  which  is  just  the  size  and  depth  needed,  and 
can  be  bought  cheaply. 

1.    REED  MATS. 

As  an  introduction  to  the  successful  making  of 
reed  baskets,  the  making  of  reed  mats  is  a  most  de- 
sirable one.  In  fact,  the  mastery  of  this  insures 
success  in  the  making  of  baskets;, but,  without  this, 
the  result  will  not  be  satisfactory,  since  we  must 
have  a  good  start  before  we  can  consider  the  subject 
of  form. 

Materials  needed  for  the  first  mat  are:  Four 
spokes  of  No.  3  reed  1 2"  long,  one  spoke  of  No.  3  reed 
7"  long,  and  two  weavers  of  No.  2  reed. 

The  reed  should  be  placed  in  cold  water  and 
permitted  to  soak  for  at  least  an  hour  before  using. 
If  hot  water  is  used,  only  half  the  length  of  time  is 
necessary.  Proceed  by  arranging  the  12"  spokes  in 
pairs  and  crossing  them  in  the  center.     Place  the 


BASKETRY. 


137 


short  spoke  between  any  two  of  the  long  ones,  and 
hold  all  in  place  with  the  left  hand.  Now  take  one 
of  the  weavers  and  begin  weaving  by  placing  the  end 
of  it  parallel  and  against  one  of  the  spokes,  with  the 
end  slightly  to  the  right  of  where  the  spokes  cross. 
Pass  it  on  around  the  spokes  that  it  crosses,  and  as  it 
comes  up  cross  the  other  set  of  spokes  and  down 
again,  passing  below  the  spokes  you  first  went  around. 
A  in  Figure  289  is  the  weaver,  and  the  other  reeds  repre- 
sented are  the  spokes. 


F.q.289 


F/q.230 


Now,  as  you  come  up  and  over  the  next  set,  you 
have  made  one  circuit.  Follow  the  same  path  once 
or  twice  around,  and  then,  beginning  with  the  spokes 
at  the  end  of  the  circuit,  separate  the  spokes,  and  con- 
tinue by  passing  the  weaver  over  one,  under  one,  etc., 
dividing  the  spokes  evenly  as  soon  as  possible.  A  in 
Figure  290  is  the  same  as  A  in  Figure  289.  Great  care 
should  be  exercised  in  pressing  the  weaver  down, 
between  each  spoke,  close  to  the  previous  row  of  weav- 
ing. This  alone  is  not  sufficient,  it  should  also  be 
held  in  position  with  the  forefinger  of  the  left  hand 


138        ELEMENTARY  INDUSTRIAL  WORK. 

while  passing  to  each  succeeding  spoke.  The  impor- 
tance of  this  is  never  fully  realized  until  the  student 
begins  work  on  his  mat  or  basket.  This  applies  to  all 
reed  work. 

In  starting  a  new  weaver  place  the  end  on  the  end 
of  the  old  weaver  behind  a  spoke,  and  continue  in 
the  same  path  that  the  old  weaver  would  have  taken. 
Later,  when  the  project  is  completed,  the  ends  will  be 
cut  evenly,  leaving  no  obstruction.  Your  judgement 
will  of  course  tell  you  that  this  splicing  must  take 
place  on  the  inside.  (The  outside  of  the  mat  or  bas- 
ket is  the  side  next  to  the  worker.) 

When  the  mat  is  about  4"  in  diameter,  the  end  of 
the  weaver  is  passed  under  the  last  row  of  weaving 
and  behind  the  next  spoke,  or  it  may  be  bound  off  by 
passing  the  weaver  under  the  last  row  of  weaving, 
under  the  next  spoke,  over  the  next,  and  under  the  last 
row  of  weaving  again.  Continue  in  this  manner  once 
around  the  mat.     The  mat  is  now  ready  for  the  border. 

The  simplest  open  border  (Figure  291)  is  made  by 
cutting  the  spokes  to  an  even  length  and  shaving 
them  to  a  point,  soaking  the  mat  and  then  bending 
spoke  No.  1 ,  and  pushing  it  down  beside  spoke  No.  2, 
and  continuing  in  this  way  until  all  of  the  spokes  are 
pushed  down.  Figure  292  might  have  been  used  on 
this  mat.  Referring  to  the  figure  you  will  see  the 
similarity  between  this  and  the  other  border.  The 
spokes  should  be  pushed  down  to  a  depth  of  at  least 
1"  into  the  mat. 

Figure  293  shows  the  first  step  in  the  detail  of  the 
heavy  border  which  may  be  used  on  mats,  and  is  spe- 
cially desirable  for  baskets  whose  tops  are  exposed  to 
hard  usage. 


BASKETRY. 


139 


To  execute  the  border  started  in  Figure  293 
arrange  the  spokes  just  as  they  are  shown,  then  pro- 
ceed by  taking  the  end  of  the  first  spoke  which  is  al- 
ready bent  around  the  second,  carry  it  forward  in 
front  of  the  third  and  fourth,  back  of  the  fifth,  and 
push  it  down  on  the  right-hand  side  of  this,  the  fifth 
spoke,  and  bend,  and  then  push  down  the  fourth 
spoke.  This  makes  two  bent  spokes  between  the  fifth 
and  sixth,  a  short  one  and  a  long  one  (Figure  294). 
Continue  in  this  way  and  you  will  find  that  you  will 
also  have  two  between  all  succeeding  spokes.  The 
long  one,  of  course,  is  to  be  used  again,  and  the  short 
one  remains  where  it  is,  and  is  cut  off  after  the  border 
is  completed. 

A  second  reed  mat  is  executed,  since,  frequently, 
there  is  a  demand  for  basketry  low  down  in  the  grades 


140        ELEMENTARY  INDUSTRIAL  WORK. 

where  the  children  are  too  young  to  work  in  accord- 
ance with  the  preceding  reed  mat.  Splitting  the 
spokes  and  threading  them  for  the  base,  and  then 
beginning  to  weave  with  raffia,  is  an  easier  and  less 
technical  beginning,  but  does  not  give  as  serviceable 
a  basket.  We  shall  also  use  more  spokes  in  this 
mat,  and  it  will  be  seen  that  the  result  is  a  closer 
border,  which  is  stronger  and  more  durable. 

Materials  used  are  six  spokes  of  No.  3  reed  12" 
long;  one  spoke  of  No.  3  reed  7"  long,  one  weaver  of 
No.  1  reed,  and  one  or  two  strands  of  raffia. 

Cut  one  end  of  three  of  the  long  spokes  and  of 
the  short  one  to  a  short  flat  point.  Next  take  a  knife 
and  make  a  slit  in  the  center  of  the  other  three.  (See 
Figure  295.) 

Next  take  the  three  pointed  spokes  and  slip  them 
thru  this  opening  until  half  projects  on  either  side. 
After  one  has  been  slipped  thru,  it  is  an  easy  matter 
to  slip  in  the  other  two,  one  on  either  side.  The 
short  one  can  then  be  slipped  in  between  two  of  the 
longer  ones,  leaving  the  blunt  end  to  project  but 
slightly  beyond  the  ones  that  are  slitted,  as  shown  in 
Figure  296. 

Begin  weaving  by  taking  the  large  end  of  a  strand 
of  raffia  (raffia  should  never  be  soaked  in  water  to  make 
it  pliable  in  order  to  manipulate  more  easily),  and 
start  just  as  we  did  with  the  reed  weaver  in  Figure 
289.  In  this  case  we  begin  weaving  over  and  under 
after  the  first  time  around.  If  you  have  followed 
instructions  you  are  now  weaving  from  left  to  right, 
pulling  the  weaver  down  close  to  the  center  and  hold- 
ing it  each  time  with  the  left  forefinger  to  prevent 


Flq?94- 


/ 


F"3 


2<>6 


FiaZ^l 


slipping.  Do  not  Qverdo  this  part,  however,  by  having 
your  weaver  so  tight  that  the  bottom  will  not  remain 
flat. 

The  spokes  must  be  evenly  separated  by  the  time 
three  or  four  rows  have  been  woven  in  order  that  the 
spokes  come  out  straight  from  the  center,  otherwise 
the  work  will  not  be  symmetrical. 

After  one  or  two  of  the  strands  of  raffia  have  been 
used,  insert  a  weaver  of  No.  1  reed  behind  a  spoke, 


142        ELEMENTARY  INDUSTRIAL  WORK.' 

and  continue  the  weaving,  keeping  the  raffia  with 
the  reed  weaver  until  you  come  to  the  end  of  the 
raffia  (Figure  297).  The  end  of  the  reed  weaver 
must  be  held,  to  prevent  its  slipping,  until  one  row 
has  been  woven,  when  it  will  bind  and  remain  in  place 
without  holding.  A  full-length  weaver  will  make 
this  mat  large  enough.  When  the  mat  is  finished, 
the  weaver  is  fastened  in  the  same  manner  as  the  one 
in  the  preceding  mat.  If  this  is  the  second  mat  that 
has  been  made,  it  is  well  to  use  the  heavy  border  in 
order  to  have  more  than  one  with  which  you  are 
familiar. 

2.    HOW  TO  UTILIZE  MATS. 

It  is  sometimes  necessary  to  make  several  mats 
in  order  to  acquire  enough  technique  to  proceed  with 
the  baskets.  So,  in  order  to  stimulate  the  child  to 
repeat  the  problem,  the  second  one  that  he  makes 
should  not  be  simply  a  mat,  but  rather  one  in 
disguise. 

Pincushion. — The  making  of  a  small  mat  with 
rather  a  large  border  affords  excellent  material  for 
a    pincushion.      (Figure    298.) 

Cut  a  circular  piece  of  cardboard,  about  2"  in  diam- 
eter. Place  some  wadding  or  other  filling  on  this, 
and  fasten  to  the  cardboard  by  taking  a  few  stitches. 
Cover  with  a  circle  of  suitable  material  of  double  the 
diameter  of  the  cardboard  circle.  To  cover,  gather 
the  edge  rather  coarsely  with  thread,  place  on  this  the 
cardboard  with  padding  turned  downward,  and  draw 
up  tightly,  and  secure  the  ends  of  the  thread.  Then 
sew  the  pincushion  on  the  center  of  the  mat. 


BASKETRY. 


143 


Figure  298  is  intended  to  be  used  flat  on  the 
table,  but  could  be  made  more  attractive  to  smaller 
children  by  weaving  a  ribbon  around  the  open  border 
decorating  with  two  or  three  bows.  Then  suspend 
the  cushion  by  means  of  two  ribbons  with  a  bow  at 
the  top. 


Fi<j30C 


py 


299 


Letter-Rack- — Two  or  more  mats  are  used  for 
this  project.  Figure  299  is  almost  self-explanatory. 
For  the  back  take  a  board  3/%n  thick,  about  8"  wide 
and  12"  long  (depending  on  the  size  of  the  mats). 
It  can  be  shaped  at  the  top  by  means  of  a  jack-knife. 


144        ELEMENTARY  INDUSTRIAL  WORK. 

Place  the  mats  on  the  back,  and  with  a  pencil  locate 
the  points  for  fastening.  If  no  drill  is  at  hand  for 
making  the  small  holes,  a  nail  may  be  driven  thru  and 
pulled  out  again.  If  a  board  cannot  be  used,  cover 
a  piece  of  cardboard,  or  the  cardboard  can  be  used 
without  covering,  providing  it  is  of  a  desirable  color 
and  shade. 

Doll-Table — The  spokes  in  the  mat  for  the  doll- 
table  should  be  cut  much  longer  than  would  ordinarily 
be  used  in  making  a  mat  the  diameter  of  which 
is  the  same  as  the  one  in  Figure  300;  2  J"  is  an 
appropriate  diameter.  Weave  the  top  just  the  same 
as  you  do  for  any  other  mat,  using  raffia  weavers 
and  making  an  open  border.  But  in  pushing  back 
the  spokes,  which  are  quite  long  in  this  case,  let  them 
go  as  far  as  the  center  of  the  mat,  and  then  draw 
them  out  to  form  the  support  for  the  table.  Now 
take  these  weavers  and  bind  them  with  raffia,  cover- 
ing them  so  that  the  reed  will  not  show.  When 
within  about  f "  of  the  distance  from  the  top  of  the 
table  to  the  floor,  divide  them  into  three  even  groups 
and  wrap  separately,  forming  the  feet  of  the  support 
as  shown  in  Figure  300. 

This  is  a  doll-table,  and  must  not  be  confused 
with  a  full-sized  table  in  criticizing  the  proportions 
of  Figures  298,  299  and  300. 

Other  articles  of  doll  furniture  can  be  worked 
out  on  the  same  plan,  the  chair  being  one  of  the  sim- 
pler ones. 

A  large  number  of  projects  could  be  worked  out 
here  in  case  there  should  be  a  need  for  them,  the  whisk- 
broom  holder  being  one  of  the  popular  ones;  but, 
since  this  is  not  merely  a  text  on  basketry,  we  must 


BASKETRY.  145 

resist  the  temptation  of  treating  mats  farther.  The 
author  feels  justified  in  having  treated  this  some- 
what at  length,  since,  as  has  been  stated,  successful 
basketry  depends  on  a  good  beginning  at  the  center 
of  the  basket. 

3.    REED  BASKETS. 

The  construction  of  any  project  should  always 
be  preceded  by  a  working  drawing  whenever  possi- 
ble. For  a  reed  basket  an  outline  drawing,  showing 
the  shape,  diameter  and  height,  is  all  that  is  neces- 
sary.     (See    Figure    301.) 

For  the  first  attempt  the  diameter  should  not 
be  more  than  3".  In  making  the  drawing  you  must 
consider  that  you  have  a  front  view,  or  the  real  height 
of  the  basket,  and  not  a  perspective  view,  which  in- 
cludes not  only  the  height,  but  a  part  of  the  diam- 
eter. For  the  length  of  the  long  spokes  add  8"  to 
the  length  actually  needed  for  the  bottom  and  sides 
of  the  basket,  in  order  that  there  will  be  4"  of  each  spoke 
for  the  border  of  the  basket.  The  short  spoke  should 
be  a  little  more  than  half  the  length  of  the  others. 
This,  after  binding  at  the  center,  will  give  you  sev- 
enteen spokes  radiating  from  the  center.  As  a  rule, 
it  is  not  advisable  to  use  fewer  spokes  than  sixteen. 
In  case  the  basket  is  too  small  for  so  large  a  number 
of  spokes,  they  can  be  used  in  pairs. 

The  basket  is  started  just  like  either  of  the  mats. 
As  soon  as  you  think  you  have  woven  to  the  diam- 
eter of  your  basket,  stop  and  measure  it.  In  meas- 
uring do  not  use  a  ruler,  but  fold  your  working 
drawing  on  the  base  line  as  indicated  by  the  dotted 


146        ELEMENTARY  INDUSTRIAL  WORK. 


F.g^O/ 


Frg302 

line  in  Figure  301,  giving  Figure  302.    Now  you  can 
use  the  drawing  for  measuring  the  diameter. 

If  you  find  that  the  base  is  large  enough,  place 
it  in  water  again  to  make  the  spokes  quite  pliable. 
Now  bend  them  so  that  they  appear  to  conform  to 
the  shape  of  your  drawing.  Resume  the  weaving, 
drawing  the  weaver  just  tight  enough  to  keep  the 
spokes  in    position.      After  you  have    gone    around 


BASKETRY. 


147 


several  times,  hold  your  drawing  back  of  the  basket, 
and  by  sighting  you  judge  accurately  as  to  whether 
or  not  you  are  weaving  in  accordance  with  the  drawing 
Should  you  find  the  drawing  quite  wrong  in  shape, 
it  might  be  necessary  to  take  off  part  of  the  weaver 
and  weave  it  again,  making  it  more  or  less  tight  as 
may  be  found  necessary. 

After  weaving  to  the  desired  height,  fasten  the 
end  of  the  weaver  the  same  as  in  the  mat.  For  this 
basket  a  simple  open  border  is  preferable    (Figure  29 1 ). 


: 

. 

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£3 

WMF 

1  & 

. 

■Kmi 

Plate  No.  5. 


148        ELEMENTARY  INDUSTRIAL  WORK. 


Fiq306 


Ficj  309 


BASKETRY.  149 

Nearly  all  reed  baskets  are  woven  in  about  the 
same  manner,  so  that  it  is  not  necessary  to  describe 
the  process  of  making  additional  ones. 

A  variety  of  designs  is  desirable.  For  that 
reason  Figures  303  to  307  were  prepared.  This  was 
done  in  preference  to  inserting  expensive  halftones 
that  show  beautiful  objects  completed,  but  without 
sufficient   detail   to   learn   the   construction. 

Figure  303  illustrates  double-weaving.  It  is 
the  same  as  single-weaving  (Figure  290)  except  that 
two  weavers  are  used  as  one. 

Figure  304  illustrates  two  weavers,  one  following 
the  other.  This  produces  the  same  effect  as  single 
weavers,  but  requires  an  even  number  of  spokes. 

Figure  305  illustrates  pairing.  Two  weavers 
are  started,  one  behind  each  succeeding  spoke,  and 
crossed  between  them,  bringing  forward  the  under 
weaver  each  time.  This  weave  can  be  used  for  a 
border,  and  makes  an  attractive  band  for  reed 
basket.  Either  an  even  or  an  odd  number  of  spokes 
may  be  used.  Figure  306  illustrates  the  triple  twist. 
Three  weavers  are  started,  one  behind  each  succeeding 
spoke,  beginning  to  weave  by  taking  the  one  started 
first  and  bringing  it  forward  over  the  two  other  weavers 
and  behind  the  third  spoke;  next,  take  the  second 
spoke,  bringing  it  forward  over  two,  etc. 

This  makes  a  better  border  or  top  than  does 
Figure  305,  since  it  is  closer  and  covers  the  spoke. 
The  triple  twist  may  also  be  used  over  broken  spokes 
in  order  to  keep  them  from  showing. 


150        ELEMENTARY  INDUSTRIAL  WORK. 

Figure  307  illustrates  another  open  border  or 
top  which  makes  an  attractive  finish. 

Figure  309  shows  a  method  of  making  a  handle 
to  be  used  on  hanging-baskets  and  the  like,  to  be 
fastened  to  the  outside  of  the  basket  with  some  very 
fine  reed. 

Figure  308  shows  the  beginning  of  a  large  basket 
of  sixteen  long  spokes,  or  thirty-two,  radiating 
from  the  center.  After  separating  into  groups  of 
four,  mark  their  centers,  and  then  place  the 
first  group  on  the  desk  or  table,  the  second  group 
on  this,  and  at  right  angles  to  them,  with  the  other 
two  groups  diagonally  across  these.  Start  a  weaver, 
one  soaked  until  quite  pliable,  by  placing  the  end  on 
top  of  the  group  of  spokes  to  the  left  of  the  one  that 
was  placed  on  the  table  first,  passing  under  the  group 
which  was  placed  there  first,  over  the  next,  and  so  on 
until  you  have  not  one  weave,  but  three  or  four.  Now 
continue  by  dividing  the  spokes  into  groups  of  two. 
The  weaver  must  decide  now  upon  the  kind  of  weave 
he  will  use  for  finishing.  If  it  is  to  be  a  rather  large 
basket,  he  can  continue  for  several  weaves,  and  then 
separate  the  spokes,  using  them  singly.  Then  it  be- 
comes necessary  to  use  either  double,  paired  or  some 
other  weaving  that  uses  an  even  number  of  spokes,  or 
one  spoke  may  be  cut,  thus  leaving  an  odd  number. 
The  method  of  some  Indians  when  using  an  even 
number  of  spokes  is  to  pass  the  weaver  under  two 
spokes  or  two  groups  of  spokes  in  order  to  start  a 
new  row. 


BASKETRY.  151 

4.  WILLOW   BASKETS. 

Some  schools,  especially  those  in  the  rural  dis- 
tricts, are  unable  to  carry  on  basketry,  because  of  a 
lack  of  funds  with  which  to  purchase  the  reed.  In 
many  localities,  however,  the  common  willow  grows 
profusely  and  may  be  used  to  advantage.  To  some 
pupils  it  appeals  more  than  does  the  reedwork,  since 
the  fact  that  you  have  gathered  the  material  yourself 
adds  charm  to  the  work. 

Willows  should  be  cut  after  they  have  stopped 
growing  in  the  autumn;  in  the  spring,  just  before  the 
sap  comes,  is  a  good  time.  Choose  only  the  choice 
sprouts  that  have  no  branches  and  have  rather  a 
uniform  thickness. 

They  may  be  used  for  coiled  baskets,  described 
farther  on  in  this  chapter,  without  removing  the  bark. 
But  if  they  are  not  to  be  covered  it  is  best  to  peel  them 
by  boiling  until  the  bark  can  readily  be  slipped  off 
by  crushing.  Never  scrape  them,  as  this  destroys  the 
smooth  polished  surface.  To  simplify  peeling,  split  a 
large  willow  that  has  not  been  boiled,  slip  the  larger 
end  of  the  willows  into  the  opening,  holding  the  peeler 
and  drawing  the  steamed  willow  thru,  which  removes 
the  bark  quite  readily. 

When  weaving  be  sure  that  they  are  pliable,  and 
manipulate  in  the  same  manner  as  the  reed. 

Ash  splints  are  also  used  to  advantage. 

5.  COILED  BASKETS. 

Coiled  baskets,  to  be  successful,  require  a  bottom 
accurately  made.     If  no  reed  baskets  have  been  made, 


152        ELEMENTARY  INDUSTRIAL  WORK. 

it  is  well  to  make  one  or  two  mats  before  starting  on 
baskets.  Two  kinds  of  coiled  baskets  will  be  con- 
sidered— soft-coiled  and  hard-coiled.  A  soft-coiled 
basket  is  one  in  which  the  foundtaion  consists  of  raffia, 
grasses,  corn-husks,  or  some  other  soft  material,  and 
which  is  wrapped  or  covered  with  raffia.  A  hard-coiled 
basket  is  one  whose  foundation  material  is  reed  or 
willow. 

Soft-coiled  baskets  will  be  made  first. 

A  definite  idea  of  such  a  basket  as  we  are  about  to 
undertake  may  be  had  from  Plate  5.  These  are  hard- 
coiled  baskets.  The  soft-coiled  ones  appear  nearly  the 
same  at  a  distance,  except  that  they  are  just  a  trifle 
clumsy,  being  due  to  the  fact  that  a  thicker  coil  is 
necessary.  The  first  one  will  be  a  plain  basket  with- 
out any  design.  After  making  a  working  drawing  for 
a  basket  of,  say,  4"  in  diameter  and  of  a  proportionate 
height,  we  are  ready  for  material. 

Begin  with  just  a  few  strands  of  the  foundation 
material.  If  raffia  is  used,  take  several  strands  so  that 
the  beginning  of  the  coil  may  be  small,  making  it  pli- 
able and  lending  itself  to  a  circular  shape.  Thread  a 
raffia  needle  with  a  strand  of  raffia,  and  wrap  as  in 
Figure  310,  covering  it  so  that  no  parts  of  it  show 
thru.  Now  begin  coiling  it  (Figure  31 1),  and  sewing 
to  keep  it  in  position.  Add  to  your  foundation  until  it 
makes  a  coil  at  least  J"  in  diameter  after  wrapping, 
and  continue  to  add  a  few  strands  at  a  time  as  you 
wrap,  in  order  that  the  coil  remains  of  a  uniform  size. 
Coil  until  the  bottom  is  of  the  required  diameter, 
tessting  as  we  did  with  Figure  302  in  the  reed  basket. 


BASKETRY. 


153 


Ficj3tQ 


FiqSl   I 


Begin  shaping  the  sides  by  raising  the  coil  up  slightly  on 
the  one  below  and  sewing  in  place.  Continue  in  this 
way,  causing  the  sides  to  conform  to  the  drawing  as 
we  did  in  the  reed  basket.  If  the  basket  is  smaller  at 
the  top,  the  coil  is  set  in  just  a  little  toward 
the  center  as  you  sew.  Just  before  we  have  it  to  the 
required  height  make  the  coil  gradually  thinner  until 
it  comes  to  a  point,  as  we  had  it  in  the  beginning  of 
the  basket.  Fasten  the  end  of  the  raffia  securely  and 
cut  off  close  to  the  coil.  If  necessary,  take  a  very 
small  thread  of  raffia  which  has  been  split  from  a 
larger  strand,  and  fasten  the  ends  more  securely. 

Using  colored  raffia  for  sewing  adds  variety  to  the 
basket  just  described.  Two  designs  may  be  executed 
and  different  stitches  used  in  the  soft-coiled  baskets 
similar  to  the  ones  undertaken  in  the  hard-coiled 
baskets. 

6.    HARD-COILED  BASKETS. 


This  process  is  similar  to  the  soft-coiled  process. 
Several  different  stitches  will  be  described. 


154        ELEMENTARY  INDUSTRIAL  WORK. 

No.  4  reed  is  most  desirable  for  ordinary-size 
baskets,  but  No.  3  and  No.  5  are  quite  satisfactory. 

The  reed  should  be  soaked  until  quite  Stable. 
After  winding  all  into  a  small  circle  with  the  exception 
of  a  few  inches,  tie  the  coil  in  several  places  in  order 
that  it  may  set  in  a  circular  form  and  work  better. 

Begin  back  3"  from  the  end  of  the  reed,  and  cut 
to  a  long  flat  point  as  shown  in  Figure  312,  A  and  B. 
A  shows  the  top  view  of  the  reed,  and  B  the  side  view 
after  it  has  been  cut.  If  this  reed  has  been  properly 
pointed,  it  is  possible  to  begin  wrapping  (Without 
leaving  an  opening  in  the  center  of  the  bottom.  Thread 
the  needle,  and  wrap,  beginning  at  the  end  of  the  reed 
(Figure  313).  Wrap  for  l|n,  and  then  roll  or  coil  what 
has   been   wrapped   into   the   smallest   possible   coil. 


Fig  3*2  A 


F\c]3\ZB 


Ficj3  13 


Fty3l4- 


BASKETRY.  155 

Begin  stitching,  and  bind  securely  before  coiling 
farther  (Figure  3 1 4).  Since  the  natural  raffia  in  the 
needle  is  of  the  same  color  as  that  used  for  wrapping 
in  the  beginning,  it  is  possible  to  stitch  the  immediate 
center  with  whatever  stitch  seems  to  be  convenient. 

After  the  bottom  is  started,  some  stitch  must  be 
decided  upon  and  continued  thruout  the  bottom; 
then,  if  it  is  desirable,  another  stitch  may  be  used  for 
the  sides,  finishing  off  the  top  by  cutting  to  a  long 
flat  point  before  covering. 


Fig3\5A 


F,cj  3\SB 

Either  of  the  methods,  A  or  B  in  Figure  315,  may 
be  used  in  splicing.  It  is  necessary  to  shave  the  reeds 
for  joining  before  coming  to  the  place  of  splicing,  being 
careful  that  they  fit,  and  make  a  joint  of  the  same  size 
as  the  reed  itself.  The  two  reeds  should  be  held  carefully 
together  as  you  work  over  the  splicing.  Sometimes  it 
may  be  necessary  to  wrap  the  splice  with  a  fine  piece 
of  Iraffia,  and  also  sew  thru  it  a  few  times  to  keep  it 
from  pulling  apart. 

Threads  are  spliced  by  covering  the  end  of  the  one 
just  used  up  and  wrapping  securely  with  the  new 
thread.     Cut  the  ends  off  afterwards  if  any  remain. 

Several  stitches  that  are  desirable  for  school  use 
and  the  amateur  craftsman  will  now  be  described  and 
illustrated: 


156        ELEMENTARY  INDUSTRIAL  WORK. 


The  lazy-squato  stitch  (Figure  316)  is  a  very 
simple  stitch  and  easily  executed.  A  solid  foundation 
is  best  on  which  to  use  this  stitch,  as  the  coil  is  wound 
but  once  between  the  stitches.  The  threads  used  in 
sewing  should  be  of  an  even  size,  which  adds  to  the 
beauty  of  the  basket. 


Fhj3I6 


F.<53»7 


The  hand-stitch  (Figure  317)  can  be  used  on  both 
soft-coiled  and  hard-coiled  baskets  with  equal  success. 

The  student  will  be  able  to  work  out  new  stitches 
for  himself  if  he  has  mastered  the  ones  given  here. 
Those  wishing  to  go  deeper  into  the  subject  of  basketry 
should  learn  the  Navaho  and  the  Porno  stitches. 

Designs  are  treated  under  a  separate  heading, 
since  they  are  applicable  to  both  hard-coiled  and  soft- 
coiled  baskets. 

Some  authors  advise  the  application  of  a  design 
after  the  basket  is  completed.  This  is  a  rather  crude 
method.  A  basket  neatly  made  without  a  design  is 
preferable.  Easy  Dyes  on  tilo  strands  come  nearest 
being  successful  along  this  line. 

Colored  raffia  used  in  the  weaving  to  work  out  the 


BASKETRY. 


157 


design  adds  to  the  beauty  of  the  basket.     Coloring  of 
raffia  is  described  in  the  chapter  on  raffia. 

The  design  should  be  worked  out  in  full-size  units 
in  terms  of  the  circumference  of  the  basket.  A  full- 
size  front  view,  with  the  units  in  a  straight  line,  is 
represented  in  Figure  318.  Two  spaces  between  the 
parallel  lines  drawn  horizontally  represent  the  diameter 
of  the  foundation  after  wrapping. 


M    ^^ :jj|l     §k 


Weave  the  same  as  a  basket  without  design  until 
you  come  to  the  row  for  the  first  of  the  colored  raffia 
(1  in  Figure  318).  Add  the  color,  fastening  it  the  same 
as  you  would  a  new  strand  of  raffia,  and  carry  the 
natural  one  along  with  the  reed  until  you  come  to  the 
limit  of  1,  which  is  the  same  as  the  beginning  of  2; 
now  use  the  natural  strand,  carrying  the  colored  one 
along  with  the  reed  until  the  limit  of  2  is  reached  and 
the  colored  raffia  used  again.  Continue  in  this  way 
until  you  have  gone  once  around  the  basket.  Here 
it  can  be  seen  what  was  meant  by  working  out  the  full- 
sized  unit  in  terms  of  the  circumference,  since,  other- 
wise, it  would  be  a  mere  accident  if  we  came  out  evenly. 


158        ELEMENTARY  INDUSTRIAL  WORK. 


Begin  again  wkh  the  colored  raffia,  directly  above  the 
place  where  you  started  the  first  time,  but  weave  only 
to  the  beginning  of  3,  using  the  natural  for  3.  Con- 
tinue in  this  way  until  the  design  is  finished;  then  add 
two  rows  of  natural,  and  the  basket  is  completed. 

For  the  first  basket,  using  a  design,  it  is  advisable  to 
use  only  a  border  in  order  to  learn  just  how  to  proceed. 

Pen  sketches  of  several  baskets  are  now  given  in 
order  to  give  the  student  a  working  basis  for  more 
baskets.  Naturally,  the  various  Indian  baskets  influ- 
ence us  very  largely  in  both  design  and  weaving. 
Figures  319  to  324  are  the  sketches. 


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BASKETRY. 


159 


7.    BASKETS  OF  NATURAL  MATERIAL. 


Pine-needles  make  excellent  pintrays  and  small 
baskets.  Small  baskets  with  covers  may  be  made  to 
be  used  as  jewel-cases. 

Rye,  wheat  and  oat  straw,  as  well  as  the  different 
grasses  and  rushes  that  are  available,  may  be  used, 
not  merely  for  the  small  baskets,  but  for  larger  work. 

Corn-husks  can  be  used  the  same  as  the  founda- 
tion work,  but  are  used  to  better  advantage  if  braided 
and  then  sewed  together. 

n  Figure  325  shows  the  start  of  a  pine-needle, 
straw  or  grass  basket,  using  a  thread  or  strand  of 
raffia  for  binding.  Figure  326  is  another  section  of  the 
same  basket. 


In  working,  the  grass  should  be  held  in  the  left 
hand,  with  the  first  finger  free  to  keep  the  thread  from 


160        ELEMENTARY  INDUSTRIAL  WORK. 

slipping  back  and  causing  the  work  to  become  loose 
and  flimsy  (Figure  327).  Stitch  thru  the  coil  each 
time,  and  under  the  stitch  in  the  last  coil.  Place  the 
thread  at  the  proper  angle  each  time  before  drawing 
tight,  so  that  the  spirals  will  be  regular.  It  is  not 
advisable  to  have  them  very  close  together,  however. 
If  necessary,  new  ones  may  be  added  by  starting  one 
in  the  center  of  each  space. 

The  foregoing  applies  to  an  open  basket ;  /.  e.,  one 
where  the  inside  is  the  right  side.  A  closed  basket  is 
one  in  which  the  sides  incline  toward  the  center  at  the 
top.  When  the  bottom  is  of  the  desired  size,  turn  the 
basket  the  opposite  way,  which  also  reverses  the  angle 
of  the  stitch  and  makes  the  opposite  of  the  basket  the 
right  side.  Figure  328  is  a  pine-needle  basket  in  which 
the  inside  is  the  right  side.  This  is  called  an  "open 
basket,"  since  the  sides  at  the  top  flare  away  from  the 
center  instead  of  toward  it. 

What  has  been  said  here  about  baskets  of  natural 
material  does  not  conflict  with  using  them  for  coiled 
baskets  with  soft  foundation,  for  in  that  case  the  foun- 
dation is  wrapped  and  covered,  but  it  is  exposed  in 
these  baskets. 

8.    FLAT   REED  BASKETS. 

Flat  reed  may  be  used  for  either  square  or  oblong 
trays. 

For  an  oblong  tray,  3"x5",  take  eleven  strips  of 
reed  £"  wide  and  5  J"  long.  Shave  both  ends  of  each 
strip  to  a  thin  point,  beginning  back  f "  from  the  end. 
Cover  each  one  of  these  strips  with  raffia,   leaving 


BASKETRY. 


161 


uncovered  J"  at  each  end.  Then  sew  to  this  the 
remaining  ten  strips,  using  the  knot  stitch  (Figure 
317).  This  will  form  the  bottom  of  the  tray  shown 
started  in  Figure  330. 


Fiy  330 

After  the  bottom  is  finished,  cut  two  strips  of  reed 
exactly  the  length  of  the  width  of  the  bottom.pNow 
moisten  the  J"  projections  at  either  end  until  pliable, 
then  bend  until  they  form  a  right  angle  with  the  bot- 
tom, and  fasten  the  strips  on  the  inside  of  the  tray  by 
sewing  with  a  very  fine  strand  of  split  raffia  as  shown 
in  Figure  330.  For  the  sides  cut  three  strips  of  reed 
£"  longer  than  the  distance  around  the  basket,  so  as  to 
permit  splicing.  Soak  these  in  order  that  they  may 
not  break  while  bending  at  the  corners,  or  in  sewing 
while  splicing.  To  splice  shave  both  ends,  so  that, 
when  placed  together,  they  will  be  of  the  same  thick- 


162        ELEMENTARY  INDUSTRIAL  WORK. 

ness  as  that  of  the  reed,  and  sew  together  by  taking 
a  few  stitches  with  a  finely-split  strand  of  raffia.  Take 
one  of  these,  and,  holding  it  in  position,  sew  to  the 
bottom,  using  the  same  stitch.  Pass  on  the  outside 
of  the  strips  turned  up  at  the  ends,  and  sew  over  both, 
completely  covering  the  ends  of  the  eleven  strips  used 
in  the  bottom.  Add  the  other  two,  being  careful  that 
the  spliced  places  are  not  directly  over  each  other,  and 
the  tray  is  complete. 

Baskets  may  be  made  in  the  same  way  by  cutting 
each  succeeding  strip  for  the  sides  a  trifle  longer, 
causing  the  basket  to  flare  at  the  top. 

Figure  329  is  a  tray  slightly  larger  than  the  one 
just  described,  and  has  a  double  reed  at  the  top. 


DESIGN.  163 

XI. 
DESIGN. 

"The  Greek  worship  or  seeking  was  essentially 
of  Rightness  and  Strength  founded  on  Forethought. 
The  principal  character  of  Greek  thought  is  not 
Beauty,  but  Design." — Ruskin. 

The  subject  of  design  and  color  for  manual  train- 
ing is  such  an  inexhaustible  one  that  we  can  deal  with 
it  only  in  a  general  way,  but  too  much  stress  cannot 
be  laid  upon  the  art  side  of  the  handicraft  work  as  it 
is  taught  in  most  of  our  schools. 

While  teaching  the  child  to  use  his  hands  in  re- 
sponse to  his  creative  mind,  we  should  not  forget  that 
it  is  just  as  easy  to  instill  correct  ideas  of  form,  design 
and  color  as  to  allow  a  careless  disregard  of  the  things 
that  mean  beauty. 

If  the  teacher  has  no  idea  of  the  great  underlying 
principles  of  art,  how  can  he  expect  to  succeed  in  giving 
proper  instruction  in  manual  training?  Art  and 
manual  training  should  almost  be  synonymous  terms. 

The  teacher  meets  his  first  problem  in  the  selection 
of  material.  For  paper-work  he  must  think  not  only 
of  the  use  that  is  to  be  made  of  it,  but  of  the  colors 
that  harmonize  and  are  in  contrast  in  dark  and  light 
of  the  same  or  different  colors,  as  dark  and  light  green, 
dark  and  light  gray,  or  tan  and  brown,  blue  and  orange, 
etc.  When  the  child  makes  his  selections,  give  hints 
enough  to  prevent  discordant  notes,  and  he  will  be 


164        ELEMENTARY  INDUSTRIAL  WORK. 

acquiring  good  taste  in  an  unconscious  way.  In  buy- 
ing cord,  consider  the  color  also,  and  when  raffia  is 
purchased  it  is  better  to  get  it  natural,  and  then  dye 
it,  than  to  purchase  the  ugly  colors  that  one  so  often 
gets.  Easy  dyes  are  very  satisfactory  to  use;  and, 
by  knowing  a  little  about  mixing  colors,  fine  results 
may  be  obtained.  For  instance,  the  dark  red  is  crude; 
but,  by  mixing  green  with  it,  one  gets  a  soft  old-rose 
color;  and  a  little  orange  mixed  with  the  blue  gives  a 
beautiful  soft  tone. 

Burlap,  which  can  be  obtained  from  sacks  or  the 
wrapping  of  furniture,  can  be  dyed  in  the  bath  follow- 
ing the  raffia,  as  it  absorbs  all  of  the  color  that  is  left. 

Teachers  in  the  country  who  have  no  appropria- 
tion allowed  for  materials  can  use  from  nature's  gen- 
erous supply.  If  one  needs  yellow  dye,  let  him  use 
golden  rod  (the  whole  plant)  or  onion  skins;  sumach 
berries  give  a  pink  dye,  and,  when  boiled  with  the 
leaves,  plant  and  berries,  tan  is  obtained;  pokeberries 
and  grapes  give  purple;  hickory,  walnut  bark  and 
shucks  give  brown;  and  the  logwood  gives  black.  If 
anyone  needs  red,  buy  a  little  cochineal,  and  indigo 
for  blue.     Get  green  by  mixing  the  blues  and  yellows. 

If  in  the  fall  the  wideawake  teacher  collects  ma- 
terials and  dries  them  two  or  three  weeks  in  a  dark 
room,  he  is  ready  for  work,  and  needs  only  a  little 
practice,  good-will  and  the  help  of  the  larger  pupils. 
He  can  have  a  full  supply  of  cat- tails,  flags,  rushes, 
marsh-grass,  seaweed,  corn-husks,  willows,  oak-twigs, 
ash-splints,  wild  wistaria,  palm-leaves,  pine-needles, 
bamboo,  and  worlds  of  other  things,  to  be  used  in 
basket- weaving,  hat-making  (from  palmetto),  etc. 


DESIGN.  165 

The  wise  teacher  can  go  to  nature  again  for  his 
ideas  for  applied  design,  but  that  is  by  far  the  most 
difficult  phase  of  manual  training,  because  the  average 
teacher  does  not  know  the  subject  himself,  and  per- 
mits the  pupils  to  make  designs  too  hard  or  realistic 
and  seldom  suitable  for  the  article  to  be  decorated. 

Let  one  remember  that  it  is  much  better  to  have 
no  design  at  all  than  to  have  a  bad  one,  and,  altho  a 
child  loves  to  decorate,  he  should  be  properly  directed 
or  made  to  avoid  it.  Right  here  let  us  say  that  the 
teacher  must  have  abundant  material  to  show  the 
pupils  as  each  new  subject  is  introduced,  not  to  be 
used  as  copies,  but  to  be  offered  as  suggestions  for 
original  work  or  for  variations.  Every  child  should 
have  his  problem  stated  clearly,  examples  shown,  and 
certain  restrictions  put  upon  him  before  he  is  allowed 
to  begin.  If  one  has  no  way  of  obtaining  inspiration 
thru  contact  with  the  work  of  the  great  artists  or  get- 
ting illustrations  from  an  art  library,  let  him  own  sets 
of  good  art-books  that  deal  with  design  and  are  full 
of  excellent  examples.  In  designing  any  object  you 
must  consider  the  following: 

Purpose  of  the  object  to  be  made. 

What  form  is  best  suited  to  its  usefulness. 

What  material  is  used  to  the  best  advantage. 

Is  decoration  necessary?     If  so,  what  kind? 

In  the  teaching  of  design  it  is  best  to  begin  with 
the  simplest  problems  of  line  arrangement,  as  are 
used  on  the  ends  of  rugs  (Figures  331  and  332),  in- 
cised designs  on  pottery  (Figure  333),  border  designs  for 
baskets  and  for  lamp-shades  (Figure  357),  etc.  It  can 
be  carried  into  the  more  complicated  problems,  as  the 


166        ELEMENTARY  INDUSTRIAL  WORK. 


interlaced  patterns — the  belt  (Figure  344)  and  the 
book-cover  (Figure  362),  both  suitable  for  leather- 
work,  and  the  needle-book  (Figure  346). 


Fkjs  35 1 


332 


3  33 


334 


3SS 


336 


DESIGN. 


167 


m 


After  a  few  designs  have  been  put  on  the  black- 
board let  the  child  work  out  some  on  paper;  then  select 
his  best,  which  he  must  perfect  before  he  thin  ks  of 
working  it  out  in  his  basketry  or  whatever  he  is  ma  king. 


168        ELEMENTARY  INDUSTRIAL  WORK. 

Spotting  or  massing  is  a  step  beyond  line  com- 
position, and  it  brings  in  a  very  important  principle, 
that  of  balancing  dark  and  light  in  tones  of  gray,  or 
color.  It  is  illustrated  in  the  drawings  under  weaving. 
The  designs  for  tooled-leather  bags  (Nos.  341  and  342), 
cardcase  (No.  343),  interlace  (No.  345)  coin-purse  (No. 
347)  for  a  little  child,  the  stenciling  (Figures  358,  359 
and  360),  as  well  as  the  borders  (Figures  337-340), 
that  were  designed  by  pupils,  etc. 

If  one  wants  plant  and  animal  forms  for  design, 
let  him  use  them  in  a  decorative  or  abstract  way,  and 
not  in  a  purely  naturalistic  manner,  for,  while  morning 
glories  are  lovely  on  the  vine,  they  are  not  suitable 
for  decorative  purposes  when  drawn  and  colored  just 
as  they  grow.  We  have  had  pupils  make  a  drawing 
of  a  cat,  and,  by  making  it  into  a  straight-line  unit,  a 
good  border  was  made.  (Figure  340  was  made  by  a 
third-grade  child.)  The  borders  above  it  were  de- 
rived from  insects,  the  lamp-shade  (No.  356)  was 
taken  from  the  violet,  the  block-prints,  corners  and 
rosettes  (Figures  348-355)  were  taken  from  insects  and 
flowers,  the  bags  have  berries  as  motifs,  and  the  needle- 
book  has  the  water-lily.  The  use  of  the  square  paper 
is  often  good,  because  it  keeps  the  pupil  away  from  dan- 
gerous curves,  and  if  he  applies  himself  properly  he 
gets  results  that  surprise  everyone.  Especially  is  this 
true  in  the  planning  of  block-prints  for  printing  that 
will  now  be  discussed  more  fully. 


DESIGN. 


169 


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343 


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347 


170        ELEMENTARY  INDUSTRIAL  WORK. 


357 


DESIGN.  171 


1.    BLOCK-PRINTING. 


Block-printing  is  a  very  old  art,  used  principally 
by  the  peoples  of  India,  Japan  and  other  countries, 
and  within  the  last  few  years  very  extensively  by  Amer- 
icans. The  process  is  a  very  simple  one,  and  helps  very 
much  in  the  study  of  design  and  color  harmony.  Have 
the  child  plan  his  design  on  paper,  using  flowers,  ani- 
mals, landscapes,  insects  or  geometric  spots  as  motifs 
(Figures  348-350).  Corners  (Figures  351-353)  and  the 
rosette  (Figure  354)  can  be  used  on  the  block.  Let 
him  put  the  design  on  thin  paper,  and  with  impression 
paper  transfer  it  to  a  cork,  spool,  or  on  a  well-planed 
block  of  wood  (preferably  pear  or  cherry,  as  the  grain 
is  finer,  altho  bass  and  other  wood  will  do).  With 
a  sharp  knife  cut  on  the  lines  of  the  design,  and  gouge 
out  the  background.     The  block  is  now  ready  for  use. 

In  the  lower  grades  the  printing  is  done  on  paper 
with  printer's  ink.  An  easier  way  is  to  put  pads  of 
cheesecloth  on  a  slate  over  which  the  ink  has  been 
poured.  The  block  is  pressed  into  this  inked  pad  and 
then  printed  on  the  paper,  care  being  taken  to  make 
light  pencil  marks  where  the  block  ends,  so  as  to 
register  for  the  next  one. 

Water-color  is  often  used  after  glue  or  mucilage 
has  been  added  to  prevent  its  running.  Neverthe- 
less, we  prefer  the  dye,  not  only  because  it  is  the  best 
on  paper,  but  because  it  also  can  be  satisfactorily  used 
for  bags,  pillows,  book-covers  and  articles  that  do  not 
need  washing,  and  after  a  hot  iron  is  passed  over  the 
finished  product  it  holds  the  color  well.  However,  if 
one  is  to  block-print  curtains  or  table-covers  that  are 
to  be  washed,  oil-paints  diluted  with  turpentine  or 
gasoline  are  best. 


172        ELEMENTARY  INDUSTRIAL  WORK. 

Wallpaper  borders  for  the  walls,  linoleum,  matting, 
screens,  etc.,  for  the  doll-house,  boxes,  posters,  Christ- 
mas and  Easter  cards  (often  printed  by  the  little 
children  from  blocks  made  by  the  older  ones),  are  put 
on  the  paper  with  blocks  either  pressed  on  the  ink  or 
with  color  put  on  the  blocks,  using  a  brush.  That  is  a 
good  way  for  anyone,  for,  while  it  is  proper  to  make  a 
separate  block  for  each  color  used,  it  is  far  easier  to 
put  the  different  colors  on  the  same  block  so  as  not  to 
risk  poor  registering. 

Block-printing  as  well  as  stenciling  is  not  only 
applied  to  paper,  but  to  linen,  silk,  burlap  and  all 
kinds  of  cotton  goods. 

2.    STENCILING. 

This  is  another  art  taken  principally  from  the 
Japanese,  who  have  always  been  so  proficient  that  it 
has  been  said  that  they  cannot  be  excelled.  Some  of 
their  ancient  patterns  are  so  delicate  and  wonderfully 
wrought  that  they  resemble  a  spider's  web,  and,  in 
fact,  some  have  their  finest  lines  made  of  the  hair  of 
the  artists  who  produced  them. 

Like  the  block-printing,  it  has  boomed  of  late, 
and  is  not  only  used  on  fabrics  of  all  kinds,  but  also  in 
interior  decoration.  A  design  must  be  made  so  that 
the  parts  can  be  separated  and  the  background  con- 
nected. See  that  there  is  a  center  of  interest  and  not 
a  number  of  uninteresting,  discordant  spots.  Figure 
358  can  be  used  as  either  a  surface  pattern  or  as  a 
border  if  used  in  two  rows.  No.  359  is  a  border  taken 
from  the  acorn  and  oak-leaf.     Figure  360  is  a  surface 


DESIGN. 


173 


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Fiq5  356 


3  59 


360 


174        ELEMENTARY  INDUSTRIAL  WORK. 


NOTES 


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Fiq362 


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Fig  364 


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DESIGN.  175 

pattern.  After  the  design  is  ready,  transfer  it  to 
manila  paper  that  has  been  shellacked  on  both  sides  to 
prevent  it  from  tearing  when  paint  is  applied,  and  cut 
it  out  with  a  sharp  knife  held  in  a  vertical  position. 
Thumb-tack  the  stencil  firmly  over  the  cloth  which 
is  to  be  decorated,  and,  with  a  blotter  under  it  to  ab- 
sorb surplus  paint,  apply  the  dye,  water-color  or  paint 
by  moving  the  brush  up  and  down  so  as  to  prevent  the 
color  from  slipping  under  the  openings.  This  up-and- 
down  motion  is  called  "stippling."  Use  glue  if  the 
color  runs,  and  avoid  an  overcharged  brush.  The 
bristles  should  be  stiff.  A  mucilage  brush  answers  the 
purpose  quite  well. 

Both  stenciling  and  block-printing  are  enhanced 
by  the  addition  of  embroidery,  either  with  couching, 
as  an  outline  finish,  or  a  darning-stitch  over  the  whole 
piece  (Figure  365),  and,  if  harmonizing  colors  are  used, 
fine  effects  are  obtained. 


176        ELEMENTARY  INDUSTRIAL  WORK. 

XII. 

BIRD-HOUSES. 

The  building  of  a  bird-house  means  that  we  wish 
to  befriend  the  birds.  It  is  not  the  purpose  of  this 
chapter  to  discuss  fully  the  reason  for  encouraging 
birds,  but  to  show  in  a  brief  way  why  it  is  well  worth 
while  for  both  boys  and  girls  to  protect  them. 

In  the  first  place,  some  birds,  as  the  robin,  thrush, 
etc.,  will  not  nest  in  houses,  and  it  is  necessary  to  provide 
shrubbery.  This  leads  to  the  planting  of  trees  and 
shrubs,  which  may  be  utilized  in  teaching  a  love  of 
nature  and  beauty. 

Secondly,  it  teaches  conservation.  Even  tho  the 
birds  were  of  no  value,  it  would  be  worth  while  from 
the  viewpoint  of  habit.  How  much  more  desirable  it 
is  to  have  children  learn  to  practice  conservation 
in  preference  to  destruction. 

Thirdly,  and  lastly,  the  constructiveness  is  well 
worth  while.  Another  opportunity  of  teaching  the 
fashioning  of  simple  subjects  in  an  artistic  manner  is 
here  afforded.  Good  proportion  and  technique  are 
too  often  lacking.  Elaborate  attempts  in  the  way 
of  designs  too  often  lead  to  failure  or  a  very  crude 
product. 

1.    A  WREN-HOUSE. 

Wren-houses  are,  perhaps,  the  most  universal 
ones.  A  simple,  yet  strong  and  durable,  one  is  shown 
in  Plate  6.    The  dimensions  of  this  are  for  ^"  material. 


BIRD-HOUSES.  177 

In  schools  where  no  shopwork  is  conducted,  dry-goods 
boxes  are  a  good  source  for  material  (both  nails  and 
lumber). 

No  previous  instruction  in  woodwork  is  necessary. 
The  pieces  are  shown  in  Plate  6,  and  each  piece  labeled 
and  dimensioned.  The  most  successful  method;  tho 
not  quite  as  technical,  is  to  cut  a  pattern  for  each  part 
of  the  house.  This  will  insure  right  angles  at  the 
corners  where  it  is  intended  to  have  them.  Any  kind 
of  paper  will  do.  One  corner  should  be  started  from 
in  measuring,  as  paper  bought  already  cut,  either 
bound  or  unbound,  can  be  relied  upon  to  be  square  at 
the  corners.  After  cutting  the  patterns,  place  them 
on  the  plank  and  mark  around  them.  It  will  be  neces- 
sary to  mark  two  of  the  sides,  but  only  one  of  each  of 
the  others. 

After  sawing  all  of  the  pieces,  being  careful  to  cut 
just  to  the  lines,  the  holes  should  be  bored  in  the  front. 
The  larger  one  is  1"  in  diameter,  and  the  smaller  one 
J".  This  smaller  one  is  for  the  insertion  of  the  perch. 
The  perch  in  Plate  6  is  a  round  stick  £B  in  diameter  and 
2"  long.  The  circle  with  the  lines  across  it  in  the 
drawing  represents  a  cross-section,  and  the  lines  are 
called  "cross-hatching." 

The  center  for  the  larger  hole  is  in  the  center  of 
the  board  horizontally,  and  2"  down  from  the  top.  The 
smaller  one  is  1 "  below  this.  Be  sure  the  large  opening 
is  not  more  than  1"  in  diameter;  otherwise,  the 
English  sparrow  will  drive  the  wren  from  his  home. 

After  the  holes  are  bored,  the  parts  are  nailed  to- 
gether as  shown  in  Plate  6.  Nail  the  sides  first,  then 
slip  the  bottom  in,  and  nail  in  place.     In  nailing  on 


178        ELEMENTARY  INDUSTRIAL  WORK. 


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BIRD-HOUSES.  179 

the  roof  have  f "  projecting  over  at  each  side  and  2"  in 
front.  This  will  leave  the  necessary  projection  at  the 
back  of  the  house.  Lastly,  insert  the  perch  in  the 
smaller  opening,  and  the  house  is  complete. 

The  material  may  be  |"  thick  if  desired.  In  that 
case  the  bottom  would  be  5J"x5^";  the  other  pieces 
could  be  left  the  same. 

Painting  these  houses  is  not  always  desirable, 
and  care  should  be  exercised  in  choosing  paint.  Avoid 
the  bright  colors,  and  use  green  or  gray,  or  slate  if  con- 
venient. If  the  lumber  is  old  or  discolored,  so  that  it 
does  not  look  conspicuous,  it  is  quite  as  well  to  omit 
the  painting.  This  style  of  bird-house  can  be  made 
larger  and  with  more  openings.  Two  rows  of  open- 
ings are  sometimes  desirable,  and  then  a  partition  in 
the  box,  dividing  it  into  two  stories.  A  perch  such  as 
used  in  Plate  7  will  be  more  desirable  in  that  case.  We 
sometimes  see  a  shelf  used  for  a  perch.  That  is  de- 
sirable for  pigeons,  but  not  for  wrens,  martins,  blue- 
birds, etc. 


2,    A  LARGER  BIRD-HOUSE. 

This  house  is  not  only  larger,  but  also  has  a  gable 
roof.  This  plate  (No.  7)  is  made  up  of  a  sketch — 
front  view,  A;  side  view,  B;  and  patterns  C,  D,  E,  F, 
G,  H  and  I.  Two  of  C,  or  the  front,  are  heeded.  Two 
are  also  needed  of  D,  the  sides;  two  of  G,  which  is  only 
half  of  the  roof,  and  two  of  H,  which  are  to  support 
the  perch. 

The  patterns  are  cut  the  same  as  those  for  the 
wren-house.    After  laying  out  and  sawing  the  parts  to 


180        ELEMENTARY  INDUSTRIAL  WORK. 

size,  begin  assembling  by  first  nailing  the  sides  and 
ends  together.  The  bottom  is  then  slipped  in  and 
nailed.  It  will  be  necessary  to  take  the  partition 
next.  Place  it  in  the  center,  just  half-way  between  the 
holes  that  have  been  bored,  and  nail  from  the  front 


and  back.     Then  nail  the  roof,  having  it  project  over 
the  same  distance  in  the  rear  that  it  does  in  the  front. 

The  supports  for  the  perch  are  nailed  on  the  side, 
J"  lower  than  the  holes,  and  slightly  more  than  1  J", 
projecting  out  in  front.     The  perch  is  then  nailed  on 


BIRD-HOUSES. 


181 


this,  leaving  a  space  of  1"  between  it  and  the  front 
of  'the  box. 

/  The  front  view  should  have  been  mentioned; 
but,  since  we  are  to  deal  with  persons  who  have  studied 
no  shop-drawing,  it  was  considered  best  not  to  go  into 
detail  here  and  thus  avoid  discouragement. 

What  has  been  said  about  painting  the  wren- 
house  also  applies  here. 

3.    OTHER  BIRD-HOUSES. 


In  Plate  8  a  third  bird-house  is  shown.  This, 
like  the  one  in  Plate  7,  has  larger  openings,  and  is 
really  intended  for  birds  larger  than  the  wren,  as 
bluebirds,  martins,  etc. 


Plate  3 


The  two  patterns  shown  in  Figure  8  are  alike* 
with  the  exception  of  one  dimension,  and  that  is  the 
width.  One  is  9",  and  the  other  8J",  so  that,  with  f " 
material,  the  base  will  be  square.  The  floor  is  in- 
serted the  same  as  in  the  previous  ones.  Then  it  is 
divided  into  four  parts  by  placing  two  partitions 
diagonally.     For  martins  this  may  be  a  trifle  small, 


182        ELEMENTARY  INDUSTRIAL  WORK. 

and  can  be  enlarged  in  the  same  proportion;  but  for 
wrens  the  opening  is  merely  made  smaller. 

No  definite  instructions  regarding  the  plan  for 
the  roof  seem  advisable  here,  so  it  may  be  worked  out 
to  the  best  of  the  pupils'  ability. 

The  cupola  is  added  lastly.  It  is  made  with  a 
square  base,  and  an  angular  piece  cut  out  of  each 
side,  so  that  it  will  fit  snugly  over  each  part  of  the  roof 
and  is  bradded  in  place. 

A  very  simple  and  effective  bird-house  is  also 
made  of  four  shingles  and  two  pieces  of  plank  about 
4"  or  5"  square.  Let  the  pieces  of  plank  be  used  for 
the  top  and  bottom.  Nail  a  shingle  on  each  of  the 
four  sides,  and,  after  cutting  an  opening,  we  have  a 
very  attractive  home  for  the  birds — at  least,  it  seems 
so  to  them. 

Still  another  way  is  to  get  hollow  parts  of  trees, 
and  nail  one  end  shut,  or  both  ends  if  you  have  an 
opening  cut  in  the  side.  Woodpeckers  and  blue- 
birds will  inhabit  such  a  home. 

Tin  cans  can  also  be  used  to  advantage. 

Many  avenues  are  possible,  so  let  us  combine  and 
do  all  we  can  to  teach  the  coming  generation  the  proper 
relation  of  birds  to  man. 


FI.YIS. 


'  "\J. 


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